The demand for codes of conduct is aimed at stopping big tech companies from dominating the market and behaving anti-competitively
Australia’s media executives have demanded the Albanese government create and enact codes of conduct to stop big tech companies, like Google and Meta, from behaving anti-competitively and leveraging market power.
Media bosses are calling the need for new competition laws “urgent” a year on from the ACCC’s Digital Platforms Inquiry report that highlighted concern caused by big tech companies about “significant consumer and competition harms”, as reported by the AFR.
The two-page letter was sent to assistant treasurer Stephen Jones and communications minister Michelle Rowland, written by Free TV chief executive Bridget Fair and signed by media executives such as Nine Entertainment CEO Mike Sneesby, Seven West Media boss James Warburton, Paramount’s chief content officer Beverley McGarvey, and CRA CEO Ford Ennals.
The letter highlighted that while many Australian households and businesses rely on digital platforms such as Google and Meta, the ACCC has found that big tech companies have high market dominance that “provides them both the incentive and the opportunity to behave anti-competitively to leverage that market power and to insulate themselves from the emergence of competitors.”
Such anti-competitive behaviour highlighted by the ACCC includes “self-preferencing”, which sees a company put its own products first in search results. Another is demanding large commissions for purchases in apps and forcing advertisers to buy through its own platforms rather than for media trading companies to compete.
The AFR also noted that the Commission also found Google and Meta amass large collections of user data, but do not act on scams, false advertising or fake reviews.
Last year in the ACCC’s fifth report of the Digital Platform Services Inquiry, chairwoman Gina Cass-Gottlieb said: “consumer and competition harms across a range of digital platform services that are widespread, entrenched, and systemic.”
“We strongly agree with the ACCC that existing competition law is not sufficient to promote and protect competition in the digital platform services markets,” the media bosses say.
“Australia needs a new competition framework for digital platforms built around ex-ante rules to correct the anti-competitive conduct that has been identified by the ACCC.”
Top image: Bridget Fair
By James Manning
Rich guys again save the auctions, Major brands stake out slots in 2023 series final
As it wrapped its 2023 series, The Block again proved to be the hottest show on TV. Any way you measure it the series continues to fire, even after its 19th season. It’s a track record that is unequalled in Australian TV and makes co-creators and executive producers Julian Cress and David Barbour the most successful producers on TV. Their production company Cavalier Television only has one show these days, but what a show it is.
The show has found a new multiple buyer of properties too. Last year Adrian Portelli bought one property, this year he purchased three.
The overnight figures for the 2023 final night were 1.592m. Expect them to creep higher when the Total TV and consolidated numbers are collated.
The average Consolidated 7 number for the show over the Sundays in September and October was 1.546m. (Two of those nights were Monday numbers when Nine moved the episode for the NRL Grand Final and Australia at the Cricket World Cup.)
The Block was the highest rating non-news/sport show again in 2022 with 2.664m for the Winner Announced and a series average of 1.607m per episode.
The Block as brand magnet
Ten brands returned this year as major commercial partners – Aldi, BlueScope Steel, Disney+, Domain, Ford, hipages, McCafé, Mitre 10, Lite n’ Easy and Xero.
New brands wanting a piece of The Block audience were Arnott’s, CommBank, Youi and Aussie Broadband.
The Block has really become the poster child for commercial integration. Something Nine pioneered when the series was given a lifeline in 2010 when it returned after a hiatus.
“So many of the show’s sponsors we have had for a really long time,” Julian Cress told Mediaweek earlier this year. “People like McDonald’s and Mitre 10 come back year after year which is very flattering to us. This year there are a few new partners including Commonwealth Bank.
“When there are new opportunities they don’t last long. There always seems to be somebody waiting in the wings to take on a major sponsorship.”
All the commercial partners secure spots in the final as part of their packages. There was no shortage of opportunities for brands – across the two hours, there were eight ad breaks running between nine and 10 spots in each break.
If you are marketing a ute and you weren’t in The Block you might be getting some calls this morning. Despite having Ford as a partner (with promotions of Ranger and Everest), the auto brand didn’t have an exclusive in the category for the final episode. Also wanting to reach potential drivers were Volkswagen, Isuzu, Toyota and Honda.
One of the most-advertised products on The Block final was Nine Ad Manager with a spot telling potential advertisers they could get started with $550 including a video ad. The ad appeared in the first three ad breaks.
Nine took all the first ad in break slots across the two hours as it promoted My Mum Your Dad (twice), Travel Guides, A Current Affair, Planet Earth III, ARIA Awards, Today, and 60 Minutes.
The Block continues to offer some of the highest prize money on TV…anywhere in the world. Total winnings this year were $2,995,000 while total prize winnings in the 19 seasons so far are $35,587,807.
For the second successive year, the biggest single prize was over $1.6m. Steph and Gian won $1.75m, eclipsing the 1.68m won by Omar and Oz last year. For three of the past four years, the main prize has been more than $1m.
The show remains the single source of the biggest winnings on TV in Australia. The only other show to have given away more single prizemoney over $1m is Who Wants to be a Millionaire with a total of four $1m prizes across the original format and the spin-off Millionaire Hot Seat. Network Ten offered $2m for the winner of The Hothouse in 2004. The first season of Big Brother Australia had a prize of $1m as did short runs of Million Dollar Minute and The Big Adventure.
In terms of total prize money, The Block is close to the highest in the world with $35m across 19 seasons. Others who have given away huge amounts include the US series of Survivor with US$1m for the winner over 45 seasons. (One year that was boosted to US$2m). The US version of The Amazing Race has completed 35 seasons, each one with prize money of US$1m.
For the past few years, the auctions on The Block have been dominated by rich men opening their wallets. Several years ago it was IT entrepreneur Danny Wallis. He’s bought a total of nine Block properties over the years. Last night he made a few bids but left empty-handed.
More recently “Lambo man” Adrian Portelli has emerged as a major player. He picked up the property of Omar and Oz last year for $5m and last night he picked up three properties for a total of $12.4m.
The Herald Sun reported last month that Portelli’s business LMCT+ operates a “trade promotion”, a loosely regulated type of lottery originally designed to allow businesses to attract trade by rewarding customers with prizes, under a license issued in New South Wales.
The product LMCT+ has been called a subscription to a buyers club that offers discounts on products bought from other companies.
LMCT+ operates legally using a loophole in the law, but gambling regulators in Victoria and South Australia have launched investigations into the business.
The houses must be a key part of LMCT+ as his auction strategy was unusual, to say the least. At one stage Portelli increased his bid for the first property by $1m. Later on in the episode he outbid himself twice.
Executive producer and co-creator Julian Cress and his team are underway with plans for next year when the series heads to Philip Island, two hours southeast of Melbourne.
Speaking to Mediaweek about the show’s success, Cress said: “Part of the secret success of The Block, and why we are still going 20 years later, is that we have never done the same thing twice. We are always looking for something that is a little bit different to engage us and to deliver something that is interesting and exotic for the audience.”
The Block is reported to have spent $9.5m on Island Cove Villas which currently has nine dwellings on the one hectare.
While it’s on Phillip Island, this property is a long walk from the beach. There will also be challenges for Blockheads wanting tradies and the associated costs of accommodating everyone on the island for the duration of the build.
But will the series attract a huge audience? You wouldn’t bet against and it’s likely most of the 2023 commercial partners will return too.
Maria Grivas: “The NAB relationship means the world to us and we are thrilled to continue our partnership”
GroupM agency Mindshare has announced it has retained business with National Australia Bank (NAB) for another three years.
This marks a significant milestone in the decade-long collaboration between the agency and bank, underscoring the strength of the partnership.
Mindshare will continue to provide comprehensive media services, including media planning and buying across all channels, specifically in the areas of Performance Media, SEM (Search Engine Marketing), Search Engine Optimization (SEO), Social, and Programmatic.
In addition, the agency will continue to provide NAB with full media analytics support in collaboration with GroupM’s tech consultancy Acceleration, taking full advantage of the suite of analytics solutions and econometric modelling available to enhance NAB’s marketing strategies and business outcomes.
Maria Grivas, CEO of Mindshare Australia & New Zealand, said: “The NAB relationship means the world to us and we are thrilled to continue our partnership. The fact NAB have chosen to retain our services is a testament to the effectiveness of the work we have delivered over the past decade. We have an amazing team on the business, led by Chris Solomon, and the work the team deliver for NAB is exceptional. We’re proud of the value we deliver to NAB, and its customers, and we are all just so excited to deliver the next era of Good Growth together.”
Christian Solomon, MD of Mindshare Melbourne, said: “The work we do with NAB delivers continued positive outcomes for their business and customers, and we’re dedicated to maintaining this momentum. A big thanks to all our friends at NAB and our amazing Mindshare NAB team led by Sylvia Pickering and Mark Tzintzis.”
Mindshare has a history of award-winning work for NAB, including winning the MFA Brand Impact award.
In the past 12 months, Mindshare has retained close to $100m of business in Australia without pitching, on top of significant new business wins, which most recently includes Unilever.
Globally, Mindshare is Cannes Lions Media Agency of the Year 2023.
“They may have done the one thing they tried so hard not to do and taken a side”
As the world turns its attention to the destruction happening in Israel and Palestine, the question of how to cover the atrocities has come up in newsrooms across the globe.
On social media, journalist Jan Fran has broken down the idea that to be a good journalist you must be impartial, and to be impartial means representing both sides equally. “But what if, in pursuit of these righteous ends, we obscure the truth and do the bidding of the powerful?” she asks.
She highlights the beginning of an email sent by SBS‘s head of news to journalists and producers – from 2011, but just as relevant as ever – which reads The present conflict in and around Gaza once again brings into focus the fact that we have to be very careful with the terminology and figures we use in our reports.
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“In my time as a journalist I have seen several newsrooms cover Israel/Palestine in as balanced a way as possible. If a representative from one side is interviewed, a representative from the other side is interviewed,” Fran writes.
“Their interviews are often the same length. If we hear the personal story of a Palestinian, we should hear the personal story of an Israeli. At SBS we were told not to adopt the language of either side i.e. not to call the Palestinian territories ‘occupied’ nor ‘disputed.’ We were told instead to use ‘geographical terms’ to remain fair.”
She continues, pointing out that by avoiding the “perceived lack of balance” journalists may accidentally be obscuring the truth of the matter.
“I don’t blame those who look at the reporting on Israel/Palestine and think the mainstream media is a malevolent, biased, agenda-driven institution controlled by lobby groups. It can be! Sometimes, it’s just understaffed and simply doesn’t want the headache of dealing with the ‘inevitable slew of complaints.’”
“Often though, it is righteous, convinced it is acting ethically in pursuit of fair and balanced reporting. It is doing a good thing, the only thing it knows how to do. It is doing the very thing that sustains it.”
Finally, pointing to Amnesty International’s use of the word “apartheid” when it comes to Israel’s treatment of Palestine, Fran concludes writing that “The great irony in pursuing this balance is they may have done the one thing they tried so hard not to do and taken a side.
“Perhaps in the midst of this ‘conflict,’ as we advise and revise words, we might want to consider adding a new one to the list we can – and should – speak.”
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“2024 will bring three pivotal trends that are redefining the rules of engagement in Australia’s digital advertising arena”
By Brad Graham, director, buyer services APAC, Index Exchange
Real-time, data-driven decision-making is the core dynamic required to execute deliberate digital media buying. This practice is enabled by advancements in programmatic technology and shapes how brands connect with target audiences in an environment impacted by changing consumption patterns, and technological disruptions.
As the digital media landscape continues to evolve, so do programmatic media buying practices. AI-powered optimisations, the increased reliance on contextual targeting, curated supply, data execution, and an ever-evolving CTV marketplace are all trends that are changing the future of digital advertising.
2024 will bring three pivotal trends that are redefining the rules of engagement in Australia’s digital advertising arena.
1. Curating supply and data execution: Unleashing new marketplace dynamics
Agencies are at the centre of a paradigm shift in media buying, embracing the power of curation coupled with data execution. Agencies have an abundance of internal talent and hold decade-long relationships with brands and marketers. This dynamic allows agencies to leverage their expertise and relationships better than ever before, representing a redistribution of value in the ecosystem and an enhanced offering to present to clients.
Agencies have become the drivers of media supply, strategically curating the sources from which they acquire content, ad slots, and placements. Hence, agencies not only ensure a high standard of quality but also create a more efficient and streamlined media-buying ecosystem.
This heralds the rise of a dynamic marketplace, where agencies play a pivotal role in driving value, ensuring transparency, and optimising every step of the media buying process. Because of a more intentional buying path, agencies, media owners, and marketers are empowered to forge mutually beneficial relationships that foster more innovation and growth in a new reimagined marketplace.
Brooke Aniseko, head of digital and Data ANZ, PMX Publicis Groupe, said: “Having a curated approach to data and supply isn’t just a strategy; it’s about tapping into consumer behaviour, understanding their needs, and crafting digital experiences that resonate. In this era of data-driven precision, we’re ensuring that marketers can create meaningful connections with the end consumer.”
2. Sustainability and efficiency: navigating towards net-zero media
In a world increasingly attuned to environmental concerns, sustainability has emerged as a fundamental driver of change within the advertising industry. Everyone has heard the statistic that one million impressions served programmatically use the same amount of energy as washing a load of laundry.
Whatever the statistic, the result is a positive one that sees media owners actively seeking to collaborate with fewer exchanges, aligning with partners that share a commitment to reducing carbon footprints and achieving net-zero emissions.
This shift towards adopting more sustainable digital practices is a moral imperative and a strategic choice, as environmentally conscious media buyers gravitate toward platforms that reflect their values. In doing this, an increased focus is placed on vendors that don’t offer enough value or efficiency, eventually leading to further supply consolidation, which in effect bolsters a more positive and sustainable ecosystem.
Liam Garratt, general manager, Bench Media, said: “A topic that’s frequently coming up for us in agency briefs today is our approach to sustainable media buying. Clients want to know more details about what processes we have in place that allow them to transact in a way that feels familiar to both them and their customers while not leaving behind such a large carbon footprint. Understanding these options and being able to represent brands ethically this way is an absolute must for us.”
At the same time, buyers demand net-zero media solutions, the consequence of which are media buys that are impactful and reach target audiences, while leaving a minimal ecological footprint. Marketers are eager to associate their brands with sustainable practices, and agencies that can provide these solutions gain a competitive edge.
As the industry seeks ways to operate more efficiently while treading lightly on the planet, partnerships between agencies, media owners, and media buyers are emerging as catalysts for change. Collaborative efforts to optimise energy-intensive processes and reduce waste are driving the transformation toward a greener, more responsible media industry.
3. Bridging the gap: technology’s role in shaping the viewing experience
In the wake of COVID and forced lockdowns, consumers spent more time at home on the couch, dramatically transforming the landscape of media consumption. As a result, Connected TV (CTV) and Broadcaster video on demand (BVOD) offerings were the biggest winners, and today Australians consume more than 25 million hours of BVOD per week. The surge from linear TV to on-demand video consumption has created an audience that demands a digital viewing experience that’s reminiscent of traditional TV.
The problem, however, is the technological infrastructure that delivers digital advertising hasn’t moved as fast as consumers have. To bridge this gap between traditional TV and digital media, technological developments need to be embraced for marketers to meet consumers on the digital screen while replicating the consumer experience offered by linear TV. The proliferation of screens and how Australians consume content currently makes it difficult for marketers to present consumers with the right message, on the right screen, in the right context.
Luckily, programmatic technology is making the progress necessary to address this via increased content signal transparency. This refers to the level of detail passed to buyers in the bid stream and provides the ability to make more informed decisions when responding to impression requests. It also signifies the visibility and understanding of factors such as consumer behaviour, contextual relevance, ad placements, and data sources.
The increased transparency in signal quality and data analytics is revolutionising the advertising landscape. The buying experience is moving closer to the familiarity of linear TV, where marketers can access granular insights into viewer behaviour and content performance.
This data-driven approach not only enhances accountability but also empowers traders to optimise their ad placements.
Looking towards the future
The advertising industry has been, and always will be in a state of constant flux, but these three particular trends are reshaping its dynamics in significant ways. Agencies are evolving the value they bring through curated supply and data-driven execution. Sustainability is becoming a cornerstone of media buying strategies, and technology is finally starting to combine digital and linear TV experiences.
As stakeholders adapt to these trends, the industry is poised for a more innovative and sustainable digital ecosystem that provides a seamless viewing experience—no matter the medium.
Top image: Brad Graham, Brooke Aniseko and Liam Garratt
“The most valuable piece of advice I’ve received in my career is to embrace change”
Earlier in the year, the IMAA launched its Female Leaders of Tomorrow programme as part of its commitment to fostering long-term diversity and inclusivity across independent media agencies nationally.
The six-month IMAA programme aims to create a support network between accomplished industry leaders and their mentees by matching senior staff with up-and-coming women in indie media agencies for knowledge-sharing and professional development opportunities.
One of the IMAA mentors involved in the programme is Gaye Steel, marketing and content director consultant and academic lecturer at Torrens University Australia.
“The most valuable piece of advice I’ve received in my career is to embrace change. Change is constant in the business world, and it’s essential to adapt and innovate to stay competitive. This advice has guided me to be open to new ideas, technologies, and approaches, not only in marketing initiatives and campaigns but also in broader aspects of business strategy. It has enabled me to navigate through various industry shifts and lead teams effectively by emphasising the importance of communication, empathy, and a shared vision for the future.”
“One Australian female leader I deeply admire is Gail Kelly, the former CEO of Westpac Banking Corporation. Gail’s remarkable journey from starting as a teller to becoming the first female CEO of a major Australian bank is nothing short of inspirational. Her leadership was characterised by a strong commitment to diversity and inclusion, and she actively promoted gender equality within the organisation. Gail’s leadership style, marked by humility, authenticity, and a genuine concern for her employees and customers, left a lasting impact on me. She emphasised the importance of balancing professional success with a fulfilling personal life and encouraged others to do the same. Gail Kelly’s story serves as a testament to what can be achieved through dedication, resilience, and a commitment to positive change in the business world. A good read Live, Lead and Learn by Gail Kelly.”
“Yes, I was fortunate to have a mentor early in my career. My mentor taught me right from the start the value of strategic thinking and the importance of understanding the broader business context in marketing decisions. They emphasised the significance of a growth mindset and continuous learning, and encouraged me to seek diverse perspectives, which helped shape my marketing approach into a more holistic and effective one.”
“Mentoring is a profound partnership that involves guiding, inspiring, and nurturing an individual’s personal and professional growth. It’s about sharing knowledge, experiences, and insights to help others achieve their goals. Mentoring is crucial because it accelerates learning, builds confidence, and fosters a sense of community. It plays a pivotal role in empowering individuals to reach their full potential and contributes to the growth of industries and organisations.”
“Having more women leaders in the industry is crucial for several reasons. First, diversity in leadership brings a broader range of perspectives, creativity, and problem-solving approaches. Second, it inspires and empowers the next generation of women to pursue leadership roles, fostering a more balanced and equitable industry. Lastly, gender diversity at the top promotes innovation and better reflects the diverse customer base that businesses serve, leading to more inclusive and successful organisations.”
“I’m an avid reader and podcast listener, and I find both mediums valuable for staying updated and inspired. Currently, some of the books on my reading list include Atomic Habits, which is great for adopting good habits, and IKIGAI, which offers some neat insights with its four rules. I’m also revisiting This is Marketing by Seth Godin.
When it comes to podcasts, a couple of my favourites include The ABC News Daily and Quick Smart. I’m also a fan of Unmade, which is a podcast focused on media and marketing by Tim Burrowes. Additionally, I cherry-pick episodes from The CMO Show, which provides fascinating insights and experiences from top marketing executives.”
The deal means that The Ashes broadcast will continue to be shared between split Nine and Seven
Nine Entertainment has officially retained the rights to the next two Ashes Test series to be played in England.
The deal means that The Ashes broadcast will continue to be shared between split Nine and Seven until at least 2031, with Seven having locked in the rights to the Ashes series in Australia as part of a seven-year deal made in January.
The Australian Financial Review reports that Nine will pay about $40 million to air the 2027 and 2031 series, with rights “likely to remain jointly held by Nine and pay TV company Foxtel.”
Foxtel told the publication that it did not comment on ongoing negotiations.
The AFR also reports that “Two media sources with direct knowledge of the previous Ashes deals, signed by Nine in 2019 and 2023, suggest it paid about $13 million per series.”
It’s the latest in a string of sports rights for Nine, with the company in negotiations to secure a new deal with Rugby Australia as well as making moves to potentially sublicense the Melbourne Cup carnival once the current contract with Paramount expires.
And of course, the jewel in the crown for Nine’s sports rights this year comes in the form of February’s announcement that The International Olympic Committee (IOC) had awarded Nine the exclusive free and subscription audio-visual rights, and non-exclusive audio rights to the Summer and Winter Olympic Games from 2024-2032.
Are Media will publish two editions of ELLE Australia next year
Are Media has announced the appointment of Grace O’Neill as editor of the new ELLE Australia magazine, due to be released in 2024.
A fashion and lifestyle editor, journalist and podcaster, O’Neill will join ELLE Australia this month to oversee the content direction of the magazine ahead of its return to newsstands in March.
With 45 global editions, ELLE is one of the largest fashion brands in the world, with 37 million social media followers and 70 million unique browsers internationally.
Are Media will publish two editions of ELLE Australia next year (autumn/winter in March and spring/summer in September), increasing to four editions in 2025.
O’Neill is currently living in London as the global content editor of Harper’s BAZAAR Australia, representing the brand at international events, including Fashion Week in London, Milan and Paris.
As a freelance journalist and consultant, O’Neill has written for British Vogue, The Financial Times, The New York Times and The Guardian, as well as worked on commercial projects for brands including Mugler, Prada, Cartier, Hennessy and Estée Lauder. She is also the current editor of Par Femme, co-founder of boutique creative content agency Dollface, and co-host of podcast After Work Drinks, which has more than 20,000 listeners a week.
Previously, O’Neill was fashion features director at ELLE Australia and Harper’s BAZAAR Australia for five years.
Are Media general manager of fashion and beauty, Nicky Briger, said: “I’m thrilled to welcome Grace to Are Media to lead the exciting return of ELLE Australia magazine next year. Grace is passionate about fashion and beauty, but also committed to tapping into the zeitgeist to uncover the now, new and next which makes her the perfect person to edit ELLE Australia magazine, as well as lead the brand’s omnichannel future.
“Over the past three years, ELLE.com.au has become Australia’s premium digital destination for smart, savvy Gen Z and Y women, with an average of 270,000 unique visitors and 530,000 page views a month, reaching a total Australian audience of over 1.4 million across all touch points. On social, ELLE Australia is a powerhouse, with 748,000 followers on Facebook, 303,000 on Instagram and a fast-growing TikTok channel.
“Since 2020, ELLE Australia has been a successful digital-only property, but the print relaunch will allow us to transition ELLE into a true omnichannel luxury offering for our intent-driven audience,” she said.
Grace O’Neill said: “It’s a dream come true to be given the opportunity to edit one of the world’s most formidable fashion titles. I started at ELLE Australia as an intern 10 years ago, so to be returning as editor is a full-circle moment. Like millions of women around the globe, I’ve always had a natural affinity with ELLE, a brand that combines authoritative fashion and beauty coverage with smart, rigorous writing that steers the cultural conversation.
“ELLE is a title uniquely positioned to engage with Gen Z and millennial readers across multiple platforms. While the ELLE audience is naturally obsessed with digital, we’ve seen a growing appetite by readers to connect with a tangible, physical product. The magazine will offer world-class fashion and beauty imagery alongside razor-sharp cultural analysis, championing some of the most exciting and dynamic creative talent Australia has to offer.”
In September, Naomi Smith and Sally Hunwick were appointed ELLE Australia’s fashion and beauty directors respectively.
O’Neill will return to Australia from London this month to begin work on the print edition, which hits newsstands on 4 March next year.
Georgie Fox: “I look forward to building a team of digital specialists to accelerate oOh!’s programmatic sales offering”
Georgie Fox will lead oOh!media’s newly created programmatic sales team, accelerating its programmatic advertising capabilities.
Fox and her team will work with advertisers, agencies and technology partners to drive oOh!’s programmatic offering in line with growing client demand to incorporate programmatic digital Out of Home (pDOOH) in their wider Out of Home and omnichannel mix.
In the first major appointment by Paul Sigaloff, oOh!’s chief revenue and growth officer who joined earlier this year, Fox will support sales teams to enable advertising partners to harness the growing programmatic portfolio.
In addition, she will leverage the company’s Out of Home agreement with Unpacked by Flybuys and partnership with Westpac DataX, which taps into consumer behaviour across more than 12 million customers across 800 buyer segments.
Sigaloff said: “A significant element of oOh!’s digital transformation is programmatic, and the appointment of Georgie and a dedicated programmatic sales team will set us up for continued growth. We’ve scaled our supply and are investing in additional resources to ensure that 2024 will be a transformative one for oOh’s clients in pDOOH.
“Georgie is a programmatic specialist, bringing new digital skills that complement oOh!’s core business to meet the demands of advertisers and agencies that operate in this space. I’m delighted to welcome her to oOh! and look forward to working with her and the team as we continue to accelerate oOh!’s programmatic offering,” he added of Fox’s appointment.
Fox joins from IPG Mediabrands’ addressable media agency, Matterkind, where as head of investment and partnerships she oversaw the management of publisher and supply technology relationships across channels including video/BVOD, display, audio, digital Out of Home and native. With more than 10 years of experience in sales, agency investment, and advertising technology, she is highly experienced in DSP/SSP and programmatic ad technology, agency partnership negotiation and supply path optimisation.
Fox will also be oOh!’s representative on IAB Australia’s Digital Out of Home working group and the OMA’s programmatic working group.
Fox said: “The programmatic opportunities for advertisers and brands in Out of Home advertising are significant and will only increase alongside technological advancements. As the market leader, oOh! has ambitious plans to leverage its national digital Out of home network and strong data and insights capabilities to offer improved targeting to make brands unmissable and I look forward to building a team of digital specialists to accelerate oOh!’s programmatic sales offering.”
Top image: Georgie Fox
John O’Neill: “This enhanced management structure enables us to maximise our next phase of growth”
QMS has announced the restructuring of its sales management team to capitalise on its growth trajectory and its vision for the future.
The structure, which takes effect in February, sees Tim Murphy join the executive team in the new role of chief sales officer, with the responsibility for leading the sales function across the entire national QMS network, including the City of Sydney, streamlining the digital outdoor company’s focus on solution-based selling.
Murphy brings over 16 years of experience in the out-of-home sector, most recently as chief sales officer at oOh!media. He commences on Monday, 5 February 2024.
Alex Kerley continues in his role as chief revenue officer, leading QMS’ national and state-based sales teams (Agency, Independent and Direct) to deliver excellent customer service and drive revenue growth across the digital outdoor company’s product portfolio.
Mark Fairhurst, in his role as executive general manager, will continue to oversee and manage the preeminent City of Sydney portfolio from strategic business development, commercial and operational perspective, as well as maintaining responsibility for QMS’ trading function, including partnerships, pricing strategy and analytics.
Finally, Sara Lappage will expand her current customer-based operations role to assume full chief operating officer responsibilities. The expanded remit will see her responsible for the organisation’s corporate operating functions and its marketing, research, strategy and insights teams.
John O’Neill, QMS chief executive officer, said the changes were driven by the need to implement a structure to support this growth moving forward.
“This enhanced management structure enables us to maximise our next phase of growth. It is designed to position QMS for the long-term, allowing us to adapt to changing market trends and to embrace innovation. It is about fostering a culture of growth and excellence that will see us rise to new challenges, seize opportunities, and ensure our continued success and the success of our clients,” he said.
“These appointments, along with the broader Executive Team, will ensure that we have the right leadership and amazing teams throughout the business to champion this change,” he added.
Top image: John O’Neill
Media Movers takes a look at the recent movements announced across the industry during the week of 30/10/23
Media Movers across the industry include:
• Mamamia has announced the appointment of Natalie Harvey as its new chief revenue officer, replacing the outgoing Tony Prentice.
Harvey comes to Mamamia from her previous role as national sales director at Seven West Media.
• Jasmine Kostas will finish as the managing editor of Channel 7’s Sunrise in November.
• Ros Reines has joined Australian Life as the features editor.
• The Monkeys co-founder and group chief creative officer of Accenture Song, Scott Nowell, has departed the agency he co-founded in 2006.
Nowell, along with co-founders Mark Green and Justin Drape, were responsible for building the business into one of the most highly respected creative shops in the country.
• Lorna Clarkson is now the head of parenting and kids entertainment at LiSTNR.
• Alexandra Koster has been promoted to culture editor at Refinery29 Australia.
• The Seven Network has announced a series of senior appointments across its sales leadership team including the appointment of Georgie Nichols as national sales director, effective January 1 2024.
Nichols will be responsible for leading the network’s total TV convergence and growth across capital city, regional and BVOD markets. She will report to Seven West Media chief revenue Kurt Burnette.
• Rohan Smith has finished as the afternoon news editor at news.com.au.
• Terry Hansen has resigned as the breakfast host at KIIS 97.3.
• Nine has announced the appointment of Andrea Salmon as the director of sales – Melbourne.
Salmon will be responsible for the network’s metro, regional, streaming and on-demand TV, radio, print and digital publishing teams. Her role will also encompass helping brands to create big ideas and deliver better business results leveraging Nine’s unique suite of assets and unrivalled scale, alongside Powered by Nine.
• Tracey Holmes will finish as the senior reporter and presenter of ABC Radio Sydney’s The Ticket on 30 November 2023.
• Glen Bartholomew has finished as a presenter on ABC NewsRadio.
• M&C Saatchi has appointed Steve Coll as group chief creative officer AUNZ, replacing Cam Blackley, who left the agency last month.
Coll joins from Meta, where he was the head of creative shop for Australia and New Zealand for four years.
• Julian Abbott will finish as the presenter of ABC Sport Sydney.
• Sandra Godwin has finished as a journalist at The Swan Hill Guardian.
• SCA chief commercial officer Seb Rennie has announced the appointment of Luke Minto as national head of audio sales, following the resignation of national head of audio sales Andrea Salmon after eight years.
Minto, who joined the radio network in September as head of regional sales strategy, was previously with Nova Entertainment as group commercial director Australia. He spent 19 years with Nova, most recently as group sales director and was also general manager of Nova 96.9 and Smooth 95.3.
• 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.
By James Manning
The last decade spent co-hosting The Rush Hour, now alongside Bernie and Blewey
As Andrew Jarman celebrates a radio milestone, let’s remember it’s been a pretty big week for the Triple M brand by anyone’s standards.
As a corporate raider tries to take control of SCA to get its hands on the Triple M network, SCA has announced five new Triple M regional breakfast shows. It also shuffled key personnel at Triple M Melbourne.
Meanwhile, there is a celebration in Adelaide where one of the biggest characters in radio – Andrew ‘Jars’ Jarman – is celebrating 21 years on 104.7 Triple M.
As part of the celebration, his Adelaide Rush Hour co-hosts Bernie Vince and Greg Blewett looked back on Jars’ incredible radio career with a special montage of his biggest moments over the years.
SCA recalled today that Jars has had many roles at Triple M, including footy commentating, and boundary reporting. He made his greatest impact working across breakfast and drive shows for 104.7 Triple M.
The Adelaide station has survived a few bumps over the year, but it currently ranks #1 station overall in the market with a share of 11.7%.
Starting in 1996 at Triple M on the Big Breakfast, Jars covered the Adelaide Crows’ back-to-back premierships as well as major historic world events including September 11.
In 2004, he left radio to take up a stint in the coach’s box with the North Adelaide Football Club before moving to Western Australia to coach the Perth Demons. In 2011, Jars returned to the airwaves on Triple M’s Dead Set Legends and formed an iconic partnership with KG Cunningham.
In 2014, Jars joined The Rush Hour, where his connection with listeners was second to none despite getting listeners’ names wrong from time to time. In fact, getting names wrong was somewhat of a pattern for him, while interviewing global megastar Matt Damon, he called him his character name Jason Bourne!
Jars has found his home for the last few years as the co-host of The Rush Hour with Bernie Vince and Greg Blewett.
Speaking this week about his 21 years on air Jars said: “It’s not a job, it’s a privilege.”
Bernie Vince said: “He creates chaos during the show, he never knows where he’s trying to get to with the story, what he’s trying to say and when he does say it, it makes no sense but that’s what makes great radio!
“Working with Jars has developed my career, because I realised that chaos, no planning and mistakes makes for great entertainment, and Jars is an entertainer. He’s been an entertainer his whole life, whether that be footy, coaching, media, or The Rush Hour. He’s an entertainer, he gets radio and that’s what makes him unique.
“He embraces the fast, furious nature of The Rush Hour, and the three of us just get on really well, he’s taught me about having fun, being close, and just enjoying every day when we come in. Jars also taught me not to just laugh at others, but to laugh at yourself, laugh at your own mistakes.”
Greg Blewett added: “My fondest memories of working with Jars have been the laughs. The amount of times my head and abdominals are aching from the amount of laughter is too many to remember. His live reads are legendary!”
When asked how Jars has lasted so long in radio Blewey explained: “He’s got a good feel for what our audience wants us to cover and to get a good balance to our show. He’s also happy to put himself out there and say what needs to be said. But in saying that and getting back to the original question of how has he lasted so long? I have no idea, it’s a modern-day miracle!”
Breakfast show host Chris “Ditts” Dittmar added: “Can I mention the Pyramid of Giza, The Great Wall of China, the seven wonders of the world…Jars is one of them!”
Laura “Loz” O’Callaghan reflects on one of her first memories of Jars: “Jars was supposed to be in for Dead Set Legends, he was nowhere to be seen for a pre-recorded interview, or the first half an hour of his show, and eventually he rolled in with his arms in the air and said ‘the king is here’ we can start the show. It really broke the ice, it made me realise I didn’t need to act very professional at all to be more professional than him!
“Jars is so himself, in a way that’s quite rare, he doesn’t change to appease anyone, he’s very unique and true to his own quirk, like it or not, I personally like it.”
Jars will celebrate as any 21-year-old would with a 21st on November 10th at Henley House with 100 Triple M listeners.
Quotes from an SCA statement about Jars’ big anniversary.
This year’s event culminated with a challenge to create a campaign for Bonds
By Owen Joyce, COO of Advertising Industry Careers
In an ever evolving and competitive industry, the infusion of fresh perspectives and innovative ideas are an invaluable resource to the market. Initiatives such as the Advertising Capstone Challenge (ACC) not only encourage creativity but also provide critical skills to the next generation.
The initiative provides Advertising students from universities across Australia & New Zealand—Swinburne University of Technology, Western Sydney University, the University of the Sunshine Coast, and Auckland University of Technology—with an opportunity to put their skills to the test by creating real-world campaigns for renowned brands in collaboration with advertising agencies.
This year’s event culminated with a challenge to create a campaign for Bonds with the leading agency Special Group. The teams were tasked with coming up with creative ideas and a robust media plan to promote Bonds’ “Bloody Comfy Period Undies” to a specific demographic—13 to 20-year-olds. Eight teams of talented and ambitious students presented their campaigns at the Australasian Finals, and the standard was next level. The judging panel comprising team members from the client and agency had the unenviable task of selecting the top two teams.
What set this initiative apart was the exceptional level of research and insights each team brought to the table. Many teams incorporated personal stories into their presentations, which not only added depth to their proposals but also greatly enhanced audience engagement. It was evident that these young advertising enthusiasts comprehended the importance of connecting with not just the target audience but also those who purchase period products for younger family members. They delved deep into understanding the personas of different age groups within the 13-20 range and their unique needs, illustrating a commendable level of dedication and creativity.
The quality of the presentations was made all the more impressive when we learned that these students managed to accomplish all this in a single semester, alongside their regular coursework.
Initiatives like the ACC deserve a round of applause for their immense contributions to the advertising industry. These endeavours play a pivotal role in nurturing and honing the talents of the next generation of advertising professionals, equipping them with the skills and knowledge necessary to excel in the field. By providing students with the opportunity to work on real campaigns for established brands, the ACC helps bridge the gap between academia and the professional world.
Young minds bring a unique energy and creativity that can revolutionise advertising strategies, and such initiatives provide the perfect platform for these burgeoning talents to shine. The ACC serves as a reminder that the future of the advertising industry is indeed in capable hands and that the boundaries of innovation and creativity are constantly being pushed.
Initiatives like the Advertising Capstone Challenge do more than just educate students; they empower the future of careers in the advertising industry. These programs instil confidence in the next generation of advertising professionals and fuel innovation in a rapidly changing field. The ACC is a testament to the power of industry-academia collaborations and the incredible potential that lies within the minds of young, passionate advertising students. It is a celebration of talent, innovation, and the promising future of the advertising industry.
The lecturers from each of the Universities – David Reid, John Greig, Harry Dugmore, and Daniel Fastnedge deserve special mention for managing the ACC and their devotion to their students. And congrats again to Bonds and the Special Group for investing their time to make it happen.
Top Image: 2023 ACC Winners from Swinburne University, Thrift Media
The event was held at CRUSH in Perth’s CBD
On Thursday, November 2, Paramount held their last Upfront in Perth at CRUSH in Perth’s CBD.
Paramount also held its Sydney Upfront in October and made a series of major announcements at the event. Mediaweek caught up with Paramount ANZ’s SVP content and programming, Daniel Monaghan and chief sales officer, Rod Prosser to discuss all the announcements.
In a slate full of new and returning shows, one of the highlights is the local production of the Top Gear franchise starring Blair Joscelyne, Beau Ryan, and Jonathan LaPaglia.
Monaghan: “Top Gear is a Paramount+ premiere. It’s obviously a global franchise, it’s been running in the UK for many years. It’s hugely, hugely popular with an audience that is hugely loyal.
“In terms of commissioning it for Australia, we’ve commissioned a version that is shot in-studio here but it’s global in its travel and global in its appeal – where they go, what cars they drive. That was really important because we wanted to make a big buzzy version, not just a localised one set in one city. It’s going to look really premium, and the aim is to drive people to Paramount+ to watch it.”
Monaghan said that the commissioning of Top Gear reflects the wider work that Paramount does when looking for new shows to bring Australians.
“That is the philosophy of Paramount+ and 10 as well – we are populist, we want big broad audiences watching our shows. You’ll see that from our commissions on Paramount+, NCIS Sydney and things like Last King of the Cross. We take brands, we take IP, we take large talent, and our aim is to reach as many people as possible.”
1989 (Taylor’s Version) marks Swift’s biggest sales week ever on the ARIA Albums Chart
After recently becoming the number 1 artist in the world on Spotify (beating The Weeknd), Taylor Swift takes the ARIA charts by storm this week, scoring the #1 album, #1 single and eight of the top 10 singles.
1989 (Taylor’s Version) becomes her 12th #1 album in Australia and her third in 2023: Midnights was on top for seven non-consecutive weeks earlier this year (in addition to its seven weeks at the summit during 2022) and Speak Now (Taylor’s Version) spent two weeks at #1 in July.
The new album marks Taylor’s biggest sales week ever on the ARIA Albums Chart, the biggest opening week for any new album since 2017 and a record-setting first week for a vinyl album.
Taylor now draws level with Madonna in third place on the list of acts with the most #1 albums in Australia. Jimmy Barnes is on top with 15 as a solo act (he had another five with Cold Chisel), followed by the Beatles with 14.
1989 (Taylor’s Version) is her fourth re-recorded album, all of which have topped the chart. The original version of 1989 was #1 for four weeks in 2014 and another five weeks in 2015, delivering three #1 hits: Shake It Off, Blank Space and Bad Blood.
Taylor also captures her 10th #1 single in Australia this week, as Is It Over Now? (Taylor’s Version) (From The Vault) takes the top spot.
The other four From The Vault tracks from her new album also land in the top 10, with Now That We Don’t Talk (Taylor’s Version) (From The Vault) at #2, Say Don’t Go (Taylor’s Version) (From The Vault) at #3, Slut! (Taylor’s Version) (From The Vault) at #4 and Suburban Legends (Taylor’s Version) (From The Vault) at #8. She is also at #7 with Style (Taylor’s Version), #9 with Blank Space (Taylor’s Version) and #10 with Cruel Summer.
Aussie rock band King Gizzard & The Lizard Wizard arrive at #5 on the ARIA Albums Chart with The Silver Cord, their second top 10 album of 2023 (PetroDragonic Apocalypse; or, Dawn of Eternal Night: An Annihilation of Planet Earth and the Beginning of Merciless Damnation peaked at #2 in July). The band have won two ARIA Awards and are nominated for four in this year’s Awards, which will be handed out on 15 November.
January 2 Mariah Carey All I Want For Christmas Is You
January 9 Sam Smith & Kim Petras Unholy
January 16 SZA Kill Bill
January 23 Miley Cyrus Flowers
January 30 Miley Cyrus Flowers
February 6 Miley Cyrus Flowers
February 13 Miley Cyrus Flowers
February 20 Miley Cyrus Flowers
February 27 Miley Cyrus Flowers
March 6 Miley Cyrus Flowers
March 13 Miley Cyrus Flowers
March 20 Miley Cyrus Flowers
March 27 Miley Cyrus Flowers
April 3 Miley Cyrus Flowers
April 10 Miley Cyrus Flowers
April 17 Morgan Wallen Last Night
April 24 Morgan Wallen Last Night
May 1 Morgan Wallen Last Night
May 8 Morgan Wallen Last Night
May 15 Morgan Wallen Last Night
May 29 Morgan Wallen Last Night
June 5 Morgan Wallen Last Night
June 12 Central Cee & Dave Sprinter
June 19 Central Cee & Dave Sprinter
June 26 Central Cee & Dave Sprinter
July 3 Central Cee & Dave Sprinter
July 10 Olivia Rodrigo Vampire
July 17 Central Cee & Dave Sprinter
July 24 Central Cee & Dave Sprinter
July 31 Central Cee & Dave Sprinter
August 7 Billie Eilish What Was I Made For?
August 14 Billie Eilish What Was I Made For?
August 21 Billie Eilish What Was I Made For?
August 28 Doja Cat Paint The Town Red
September 4 Doja Cat Paint The Town Red
September 11 Doja Cat Paint The Town Red
September 18 Doja Cat Paint The Town Red
September 25 Doja Cat Paint The Town Red
October 2 Doja Cat Paint The Town Red
October 30 Doja Cat Paint The Town Red
November 6 Taylor Swift Is It Over Now?(Taylor’s Version) (From The Vault)
January 2 Taylor Swift Midnights
January 9 Taylor Swift Midnights
January 16 Taylor Swift Midnights
January 23 Taylor Swift Midnights
January 30 SZA SOS
February 6 Sam Smith Gloria
February 13 Taylor Swift Midnights
February 20 Paramore This Is Why
February 27 P!nk Trustfall
March 6 Harry Styles Harry’s House
March 13 Harry Styles Harry’s House
March 20 Miley Cyrus Endless Summer Vacation
March 27 Morgan Wallen One Day At A Time
April 3 Lana Del Ray Did You Know That There’s A Tunnel Under Ocean Blvd
April 10 Melanie Martinez Portals
April 17 Cub Sport Jesus At The Gay Bar
April 24 Metallica 72 Reasons
May 1 Morgan Wallen One Thing At A Time
May 8 Peach PRC Manic Dream Pixie
May 15 Ed Sheeran –
May 29 Lewis Capaldi Broken By Desire To Be Heavenly Sent
June 5 Taylor Swift Midnights
June 12 Foo Fighters But Here We Are
June 19 Niall Horan The Show
June 26 The Teskey Brothers The Winding Way
July 3 Kerser A Gift & A Kers
July 10 Taylor Swift Midnights
July 17 Taylor Swift Speak Now (Taylor’s Version)
July 24 Taylor Swift Speak Now (Taylor’s Version)
July 31 Barbie The Album
August 7 Travis Scott Utopia
August 14 Travis Scott Utopia
August 21 G Flip Drummer
August 28 Barbie The Album
September 4 Powderfinger Vulture Street (20th Anniversary)
September 11 Polaris Fatalism
September 18 Olivia Rodrigo GUTS
September 25 Olivia Rodrigo GUTS
October 2 Kylie Minogue Tension
October 30 The Rolling Stones Hackney Diamonds
November 6 Taylor Swift 1989 (Taylor’s Version)
By Anita Anabel
The 1% Club still as popular as ever
• Director Martin Scorsese on The Project
Seven News 199,000 (5.00 pm) / 810,000 (6.00 pm)
Nine News 784,000 (6.00 pm) / 417,000 (Late)
ABC News 464,000
10 News First 218,000 (5:00 pm)/ 201,000 (6:00 pm)
SBS World News 117,000 (6:30 pm)/ 89,000 (7:00 pm)
Daily Current Affairs
60 Minutes 758,000
The Sunday Project 166,000 (6:30pm) / 187,000 (7pm)
Weekend Sunrise 203,000
Weekend Today 166,000
Weekend Breakfast 137,000
No surprises here! Nine has won Sunday night with a primary share of 37.8% and a network share of 47.5%.
9Gem has won multi channels with a 5.5% share.
Seven received a primary share of 16.7% and a network share of 22.3%.
Ten took a primary share of 5.1% and a network share of 9.4%.
It was a nail-biting and tense auction day to round the 19th season of Nine’s The Block. Even though they had a high reserve, Steph and Gian from House Four secured the victory, winning $1,750,000 in prize money — the largest result ever in the show’s history! The high school sweethearts sold their five-bedroom property for $5,000,000, which was $1,650,000 above the reserve. On the other end of the spectrum, Kristy and Brett gained a profit of only $65,000 after a drama-filled (shock horror) auction and Leah and Ash passed in, hoping to secure another buyer in the near future. While this time last week, 990,000 watched on, this week, 1,274,000 tuned in for the record-breaking season finale and 1,592,000 watched the Winner announced, down from last year’s finale of 1.692m.
Then on 60 Minutes, 758,000 saw the program delve into Ozempic and its irresistible weight loss boom. But is it too good to be true?
526,000 began their evening with Seven’s The 1% Club before 326,000 settled in for Border Security: Australia’s Front Line where a cricketer from the UK wasn’t playing by the rules.
245,000 then tuned in for a repeat of Homicide: With Ron Iddles as Ron Iddles investigated seventeen-year-old Gary who went missing; however, his mum Jo-Ann struggled to make police listen. Eight years later, the case is still not solved until Jo-Ann pleaded with Iddles to investigate.
Then, 141,000 watched Air Crash Investigation. When the cockpit window of Sichuan Airlines 8633 explodes, the crew somehow battles gale-force winds and oxygen deprivation to safely land the plane.
389,000 watched ABC’s Joanna Lumley’s Spice Trail Adventure where actor Joanna Lumley followed the legendary spice trail to her birthplace, India. Who knew?!
Annika followed as a newly released prisoner was found dead in a dog cage under the Forth Rail Bridge and the team was sent to Edinburgh to find her killer with 377,000 tuning in.
275,000 also saw Shetland.
On 10, The Sunday Project (166,000 (6:30pm) / 187,000 (7pm) ) Rove McManus chatted to iconic director Martin Scorsese while the team also spoke to Julie and Belinda Nguyen and their mum, Jennifer Do, who have been abused online after they were accused of not paying for a $364 lobster dinner.
Then, on The Graham Norton Show, Aussie Succession star Sarah Snook, pop legend Boy George, actor Greta Lee and the irrepressible Miriam Margolyes joined host Graham Norton on the couch for 147,000.
The highest rating non-news show on SBS was Kennedy, Sinatra and The Mafia which told the story about the friendship between two of the 20th century’s greatest icons, Frank Sinatra and John F Kennedy. 96,000 watched on.
1,753,000 watched Nine’s The Block as both the stakes and the drama were at an all-time high with a secret gnome sale, up 27%.
892,000 viewed Seven’s The 1% Club, up 13%.
812,000 tuned into 10’s AFC Olympic Qualifiers where the Matildas annihilated the Philippines 8-0, up 13%.
|ABC KIDS/ ABC TV PLUS||1.5%||7TWO||1.5%||GO!||1.8%||10 Bold||1.6%||VICELAND||0.8%|
|ABC ME||0.3%||7mate||1.8%||GEM||5.5%||10 Peach||2%||Food Net||0.7%|
|7Bravo||0.9%||9Rush||1.3%||SBS World Movies||0.8%|
|ABC||Seven Affiliates||Nine Affiliates||10 Affiliates||SBS||Sky Regional|
|ABC||11.8%||7||16.4%||9||33.8%||10||3.7%||SBS||3.1%||Sky News Regional||2.4%|
|ABC KIDS/ ABC TV PLUS||2.4%||7TWO||2%||GO!||2.7%||10Bold||2.6%||VICELAND||1.2%|
|ABC ME||0.5%||7mate||2.4%||GEM||4.3%||10Peach||1.6%||Food Net||1%|
|ABC NEWS||1.7%||7flix (Excl. Tas/WA)||1.7%||9Life||1.6%||Nickelodeon||0.9%||SBS World Movies||1.3%|
|SUNDAY 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
TV legend Daryl Somers is suing Channel Seven just weeks after he was dumped as host of Dancing With The Stars for breach of copyright over the network using footage of John Farnham singing on Hey Hey It’s Saturday, reports News Corp’s Fiona Byrne.
Somers has been replaced as the co-host of Dancing by Seven’s new shine bright star Dr Chris Brown with Seven confirming Somers had left the show at the network’s 2024 programming reveal on October 18.
Somers’ company Somers Enterprises Australia filed legal action in the Federal Court on October 17 against the Seven Network claiming Seven breached copyright by using footage of Farnham performing My Yiddeshe Mama with Tom Jones on a 1990 episode of Hey Hey It’s Saturday, without approval.
Nine Entertainment’s board has raised serious concerns about the sponsorships saga that has dogged its radio arm, including 2GB host Ben Fordham’s Uber deal and 3AW host Jacqui Felgate’s 15 paid partnerships, reports The Australian’s Sophie Elsworth.
Both are the subject of an investigation by the media regulator.
Multiple sources, who did not wish to be named, said serious concerns were shared among the board chaired by Peter Costello, including questions about how Nine Radio could have failed to declare dozens of commercial partnerships across its four stations, 3AW, 2GB, 4BC and 6PR.
When it premiered in 2020, the Amazon comedy Upload mashed up life and death, artificial intelligence (AI), virtual worlds and the grim commerce of a saleable afterlife. After the war between Hollywood’s unions and the threat of AI, Upload suddenly seems ahead of the curve, reports Nine Publishing’s Michael Idato.
“I feel like our best bet going forward with AI is not to teach it the cheapest way, off billions of misleading social media posts [which would] put together a pretty dark version of an intelligence, but to figure out a way to make good AI and very intentionally give it a value system,” creator Greg Daniels says.
Elon Musk has unveiled Grok, an artificial intelligence chatbot with a “rebellious streak” inspired by The Hitchhiker’s Guide to the Galaxy, reports The Guardian’s Dan Milmo.
The Tesla CEO, who warned last week that AI was “one of the biggest threats to humanity”, said the competitor to ChatGPT would be made available to premium subscribers on his X platform after testing.
Musk also revealed that Grok had access to user posts on X, which he owns, and has a penchant for sarcastic responses.
Rear Window columnist for the past six years Myriam Robin, has been appointed Rear Window editor, reports Nine Publishing.
Mark Di Stefano has been appointed Rear Window columnist following the departure of Joe Aston. Di Stefano is a previous political editor for BuzzFeed in Australia.
Peter FitzSimons interviewed Tracey Holmes in The Sun-Herald.
Tracey Holmes has been at the ABC for most of the past 35 years. She has just announced that she will be leaving at the end of the year. I spoke to her on Thursday.
FitzSimons: Why are you leaving the ABC?
Holmes: I resigned from the ABC back in January. And I was talked out of it. I stayed and did the FIFA Women’s World Cup. Then I took a break. And then there was the second attack on my husband while we were out of the country, [about Stan’s time at the ABC], which was based on absolute lies. I rang the ABC to say, “Are you going to try and correct the record?” and they wouldn’t. And so I realised: how can I walk back into that place? That’s not a criticism of the entire ABC and all the people there. Because I still think there’s a lot of great work. But it’s not the ABC it was, and I hope it finds its way back.
The ABC has been accused of further abandoning regional and state-based journalism after refusing to stand by its promise of digital-first Stateline current affairs programs, reports The Australian’s Matthew Denholm.
Sources have told The Australian the national broadcaster has decided to walk away from its June promise to fund the Stateline initiative.
ABC management refused to comment on the leak, or to recommit to the initiative, which it referred to as a “proposal”. “The ABC has no update on this proposal,” a spokesman said.
Will Lewis, the former Dow Jones chief executive and publisher of The Wall Street Journal, will be the next chief executive of The Washington Post, report The New York Times’ Katie Robertson and Benjamin Mullin.
The Post confirmed Lewis’s appointment in a brief statement on Saturday evening after The New York Times first reported it.
The Post’s statement included a comment from Lewis, who will start in the job on Jan. 2. “The Washington Post is a premier global media publisher of record, known for its 145-year-old history of unflinching journalism, and I am thrilled and humbled to be at its helm as both a media executive and former reporter,” he said.
Veteran broadcaster John Laws is being celebrated after 70 years on air. The radio announcer known as the ‘Golden Tonsils’ joined Murray Wilton and Murray Olds to reflect on seven decades of his career, reports 2GB.
The 88-year-old broadcaster told The Two Murrays he wasn’t aware of the milestone until today.
“Jesus, a lot of people don’t live that long!” he said.
This year’s Block finale started with a bang, with the first house to go under the hammer instantly earning one team the biggest auction profit in the show’s history. And as with last year, the man who provided the team with that auction day windfall is none other than “Lambo Guy”, flashy multi-millionaire Adrian Portelli, reports News Corp’s Nick Bond.
At just 34 years of age, Portelli is worth a reported $350m and is known for his eye-watering spending; last year he bought a rare supercar for $6.5m.
After another nailbiting auction day on The Block, one couple has broken records and walked away with a “life-changing” profit, reports News Corp.
NSW childhood sweethearts Steph and Gian emerged as this season’s clear winners during Sunday night’s finale after their home was bought for a whopping $5 million by Adrian Portelli.
After their $3.35 million reserve, that gave them a record-breaking profit of $1.65 million, overtaking the $1.586 million benchmark set by 2022 winners, Omar and Oz.