Jackson Warne, Sex Therapy, The Bakersfield Three
Compiled by Jasper Baumann and Tess Connery
Last month, LiSTNR and carsales announced the return of Watts Under the Bonnet: The Electric Vehicle Podcast, returning after its debut season.
In the first half of 2023, electric vehicle (EV) new car sales jumped to 8.4%, a 120% increase on 2022, with one EV model now Australia’s best-selling passenger vehicle.
Co-hosted by motor racing journalist and commentator Greg Rust, and carsales’ consumer editor, Nadine Armstrong, the podcast series will keep listeners up to date with the latest developments in the world of electric vehicles.
Podcast Week’s Tess Connery caught up with Nadine Armstrong ahead of the podcast launch.
Before getting to the second season of the podcast, Armstrong reflects on the reaction to the first season by saying “It was really exciting, to be honest.”
“We jumped in knowing that there was a need and a genuine desire for education around EVs, but we had a really, really great response from general consumers. The whole point of the podcast has been around helping people. At carsales, we have a bit of responsibility – we’ve got a really big reach, so we need to give a really balanced message around EVs.
“There are still a lot of challenges and a lot of hurdles for people, so slowly tapping away at that has been really rewarding. Season one has helped us do a lot of that myth-busting, and to help people feel better about it – whether or not they’re ready to take the step right now.”
With the second season of Watts Under The Bonnett, the team have got double the episodes to play with. Episodes will be released every fortnight on a Thursday, for a total of 28 episodes.
“It’s a really similar format – we’ll have a key theme where we dig into a certain area of EV ownership and get some specialists on,” said Armstrong.
“Meet An EVer is a really popular segment where we get somebody that’s bought an EV and they just talk about what it’s been like, because we’ve learnt that the motivations for getting an EV are very different for everybody. Also, the news cycle is pretty crazy at the moment, so the fortnightly updates will actually be really helpful as well, to just keep up to date with what’s happening.”
Outside of the news cycle, Armstrong said that the team choose what topics to cover based on what people looking to buy an EV are asking.
“We get a lot of active, engaged people online – I’ve spent this morning having a great chat with a bunch of people on a Facebook forum. We’re learning what people talk about, because that’s the kind of things we want to address. Sometimes you can get so deep into a topic that you forget some of the really basic stuff. So understanding what consumers and would-be buyers are thinking and talking about, is really important.
“We mapped out the next year of episodes, but I guarantee that’ll change six months in. A new topic will come up or there’ll be different incentives, so it’s a bit of a moving beast. We’ve got a good idea of what we’ll cover, but we’re also still pretty flexible around it.”
Ultimately Armstrong said that she hopes listeners learn something from the podcast, especially if they’re in the market for a new car.
“It’s a real education piece to be honest, we know from surveys that we do at carsales that people intend on buying an EV soon. If they’re looking at buying a car now, they’re certainly considering an EV, so that education is really important. As the product base grows in Australia, more and more questions arise.”
Joe Rogan‘s contract with Spotify expires next year, sparking rumours that he may move The Joe Rogan Experience to another platform – possibly Elon Musk’s X.
“It’s a situation where you are damned if you do, and you are damned if you don’t,” Arete Research founder Richard Kramer told The Verge.
“If you do keep him, Spotify will be locked into paying Rogan as much or more than before, at a time when they need to contain costs. If you don’t keep him, then it’s really tough because your biggest property and source of sales within the ad business — walks.”
After leaving CBS’s The Late Late Show in April, James Corden is set to launch a new interview podcast on SiriusXM.
This Life of Mine with James Corden, which is expected to premiere in early 2024, will feature in-depth conversations with the world’s biggest stars, discussing the people, places, moments, and memories that made them who they are today. From favorite music and movies to books and advice, the show will seek to tell the untold stories of some of the most well-known public figures.
“I am thrilled to be joining SiriusXM,” Corden said in a statement.
“It’s a dream to have a space to engage in deep conversations with the people whose work and talent I greatly admire.”
“James Corden is an incredible talent who is always pushing the boundaries of what’s possible,” said Scott Greenstein, SiriusXM’s president and chief content officer.
“With a career that spans acting on stage and screen, developing and launching hit series such as Carpool Karaoke, and of course his iconic eight-year run as a late night host, James has been a trailblazer in the entertainment business. We’re so honored to welcome him to the SiriusXM family as he begins this next phase of his illustrious career and makes his mark in audio.”
People will have to sign up to SiriusXM to assess the podcast, as it will only be available for subscribers.
On Nova Podcast’s Head Game, Jackson Warne for the first time in 18 months opened up about his father’s passing and shared with host Ant Middleton the impact that his ‘best mate’ had on him, and took listeners inside the moment he received the devastating call.
Ant: “So like you said that was a moment that really changed your life. And then you know, the obvious one is the passing of your father. Like I remember, do you remember where you were? When you got the news?”
Jackson: “I was with my girlfriend, my sister Brooke, and her partner, and then my mum. And we just got the call. Hung up the phone and we just sat in silence for hours.
“But I can still very vividly remember, you know, seeing my phone and who was calling I’m like well hang on. He’s with my dad. Very weird that he would be calling me and not my dad. So I’ll answer it and then yeah, shit, it’s real. And then you sort of just go on to like a complete shock. Like you don’t you sort of don’t want to accept it.”
Audible has announced that season two of Chantelle Otten’s podcast Sex Therapy is set for a planned 2024 release with casting due to commence in the coming weeks.
Chantelle Otten is a psycho-sexologist, relationship expert and the founder of Australia’s largest sexology practice. She is the bestselling author of The Sex Ed You Never Had, and the director of the Australian Institute of Sexology and Sexual Medicine.
As a sex and relationship therapist, her mission is to open conversations that are usually considered ‘taboo’ and make them fun, enjoyable, and conversational. During the anonymous, recorded sex therapy sessions on the Audible Original podcast, audiences heard from real patients with real questions, issues, and desires, as Chantelle worked with the participants to discover their truths and help them find paths to sexual pleasure.
Chantelle Otten, host and psycho-sexologist, said: “My day-to-day sessions are usually completely private, so to be able to tell authentic and important stories to such a large audience with Audible has been such a huge honour. I’m excited to continue this journey with my listeners in season two of Sex Therapy, as we explore more authentic and important stories together.”
After three friends are murdered or go missing within a two-month period, their mothers begin connecting the dots, leading to disturbing results.
Acast‘s The Bakersfield Three podcast is a 15-part series that delves into a real-life case involving kidnapping, torture, murder and more, launching on Wednesday, November 8.
The Bakersfield Three is the culmination of five years of reporting, research, and interviews by Emmy-Award winning journalist Olivia LaVoice and features exclusive interviews with key players as crucial events in the case unfolded.
LaVoice said: “This case is unlike any I’ve ever encountered. The twists and turns have often felt endless. The case has many layers and is both deeply emotional and intriguing.
“It’s complex, fascinating, mysterious, and often gut-wrenching. Listeners will hear every twist and turn unfold the way it did in real-time and will get to know the players in the case on a deep level – particularly the mothers of The Bakersfield Three, who have truly gone through the unimaginable.”
By James Manning
Team member heading to London as partner secures big job with News Corp
Matt De Groot has surprised Nova 969 Fitzy and Wippa with Kate Ritchie breakfast show listeners with an announcement today.
After 11 years with the station, De Groot is leaving the breakfast show at the end of the year.
Wippa teased the announcement just after 8.20am this morning saying there was a team announcement up next.
The breakfast show’s news presenter Matt De Groot announced that he would be leaving the Fitzy & Wippa with Kate Ritchie show.
De Groot will be moving to London next year to support his wife Bronte Coy, who will be heading up news.com.au’s royal and entertainment coverage.
Since joining the breakfast dup in 2013, De Groot has delivered approximately 39,000 traffic reports, 20,000 news bulletins, has read the news from the top of the Harbour Bridge, in an ice bath, in a fighter plane, in a helicopter, on the snow, on a cruise ship, and in the line for Harry Styles.
“Every member of this team is crucial,” said Wippa as he introduced De Groot.
“Somebody else is going to have the opportunity to have the best job in Sydney breakfast radio news,” said De Groot as he explained the reasons for his departure. “This is not a decision we have made lightly, but this is a great opportunity for the family.”
Fitzy added: “You have been a vital part of this show for the past decade and we thank you. We now have three weeks left together so maybe in that time you might be able to get a traffic report right?”
While at Nova Entertainment, De Groot has also hosted Nova’s Summer Breakfast show, a Saturday breakfast show and a Sunday night show. In addition, he has been a regular on Channel 7’s The Morning Show, 10’s Studio 10, a rugby league commentator on Channel 9 and has been a vocal men’s health advocate and an Ambassador for White Ribbon, Batyr, The Primary Club and Thankful.
Top photo: Fitzy, Wippa, Kate Ritchie, Matt De Groot and breakfast show EP Tom Ivey
See also: Sydney Radio Ratings 2023 Survey 6
By Jasper Baumann
Bridget Fair: “The 1.5 billion dollars that (Free TV) invest into Australian content happens every year”
Netflix has revealed it has spent more than $1 billion on Australian-related programming since 2019, adding further fuel to the battle between subscription TV and free-to-air media companies over viewers’ access to content.
The two TV lobbying bodies Free TV Australia and ASTRA are going head to head over how their streaming service apps are displayed on smart televisions ahead of upcoming government legislation.
Free TV Australia is lobbying the government to ensure Australian audiences have the ability to choose the content they wish to view. This week it launched new research which found eight in ten Australians want to be able to easily find free TV services. Meanwhile, subscription TV body ASTRA, ran a full-page advertisement in The Australian claiming “The government wants to control your TV’.
In the midst of the stoush, the Australian Communications and Media Authority (ACMA)’s released its report on spending by the subscription video on demand (SVOD) services.
Netflix seized the opportunity to promote its investment in Australian storytelling which includes $500 million on programming for childrens’ and young adults and a further $450 million on adult drama programs over the last four years. The investment comprises more than 80 new films and programmes, including internationally-recognised content such as Hannah Gadsby’s Nanette, Heartbreak High and Love on the Spectrum.
Bridget Fair, CEO of Free TV told Mediaweek that Netflix’s announcement highlighted its commitment to the local market.
“It signals that Netflix is seriously trying to compete in this market, so in that sense yes, we take all competition very seriously and that’s why we need to make sure that we are in touch with our own viewers and able to reach them.
“It’s open to anyone to compete, that’s fine. I think we are prepared to back our own ability to bring people programs that they want to watch.
“The 1.5 billion dollars that we (Free TV) invest into Australian content happens every year, year in and year out, it’s not going away.”
Netflix revealed that commissioned, co-commissioned and acquired first run Australian content had made up 95% of Netflix’s total Australian programming investment in 2022/23. With this content focused on the kids, drama and documentary genres. The remaining 5% of the expenditure went to the licensing of “older films and shows to build our catalogue and showcase the best of Australian film and TV”, according to a Netflix blog post.
The expenditure is down from $335 million the previous year
Subscription video-on-demand (SVOD) providers Amazon, Disney+, Netflix, Paramount+, Prime Video and Stan spent $324 million on Australian programs in the 2022–23 financial year, according to data from the Australian Communications and Media Authority (ACMA).
The expenditure is down from $335 million the previous year and included a $35 million decrease in commissioned programs largely within the adult drama and documentary genres and a $24 million increase in expenditure on acquired programs.
The data, which is provided to ACMA on a voluntary basis, revealed an additional $453 million was spent by the SVOD providers on acquiring, producing or investing in 39 Australian-related programs, however, these did not meet all of the criteria to be classified as Australian content.
This criteria includes commissioning Australian-related programs, producing foreign programs in Australia, and providing long-term employment opportunities through local production facilities.
The report revealed that while overall investment dropped, Australian audiences were able to watch more Australian content across all five SVOD platforms – with an extra 1412 program titles now available, bringing the total to 3,757 Australian program titles.
Top image: Heartbreak High 2022 reboot
By Tess Connery
EP Morgan O’Neill on bringing one of the world’s biggest franchises to Australia
Premiering exclusively on Paramount+ in Australia on November 10 – and internationally in the US on November 14 – NCIS: SYDNEY is bringing one of the world’s biggest franchises Down Under.
The first-ever international series from the global NCIS franchise will see a team of U.S. NCIS Agents and the Australian Federal Police grafted into a multi-national taskforce, to keep naval crimes in check, in the most contested patch of ocean on the planet.
Ahead of the show’s launch, Mediaweek caught up with EP of NCIS: SYDNEY, Morgan O’Neill.
“As far as TV behemoths go, it doesn’t get much bigger than NCIS. So, when I was first approached to pitch on how the NCIS franchise might expand their universe to Sydney, I asked myself the same question. To answer it, I cleared the couch and watched hundreds of episodes of the show from all four American franchises. It quickly became clear that there’s a connective DNA that all four shows enjoy that springs from their tone – a twisty crime procedural with kink. There’s a sense of fun at the core of the show that’s undeniable, and the resulting tone is so uniquely NCIS. So that’s what we went after.
“That said, what I found so fascinating watching the shows was that while they share this connective tissue, each iteration of the franchise is different to the other. It seems pretty clear that the makers of the shows were really clear about expanding the universe, not replicating it. And that was a great revelation for us when it came time to establish NCIS: SYDNEY. The goal wasn’t to recreate the show in Australia, it was to find what the authentic version of the show in Australia would look and feel like, then lean into that. I pitched a very ambitious vision of the show to the folks at Paramount+ AU and CBS Studios, and they told me to swing for the fences. So that’s what we did.
“Over and above all that, it seems to me that NCIS is in a lot of ways part family drama, part workplace comedy. The core team of agents function like family, and in the case of NCIS: SYDNEY, the franchise’s first blended family with Australian AFP officers working alongside American NCIS Special Agents. People keep coming back to the shows because they love that sense of family in all its facets – love, bickering, betrayal, reunification… but most of all that when the chips are down, you know they’re going to have each other’s back. For me, that was the bedrock in creating our characters for NCIS: SYDNEY.”
“Looking out at Sydney Harbour, it’s not hard to draw a ton of inspiration. In fact, when you consider Sydney is the world’s largest harbour, set on the coast of the world’s largest island, smack back in the middle of the world’s most contested patch of ocean, it’s hard to believe NCIS: Sydney hasn’t been made already.
“It’s also rare to work on a ‘new’ show that has 950 episodes to draw from… lots of inspiration there.
“While researching the organisation that is NCIS, I discovered that they’re the smallest of the 17 US military/intelligence acronyms. While the FBI, CIA and NSA hog the headlines and the resources, NCIS just gets on with the job, doing more with less, scrapping their way forward in defiance of their larger, more famous colleagues. To me, that’s a description that could easily be used to describe Australia: the scrappy underdog that often bats out of its league. From that perspective, it feels like the Australia version of the show exists in a space that is naturally connected to its roots.
“In terms of making sure it has an Australian feel, we collected a room full of some of Australia’s most skilled screenwriters and made sure we kept each other honest – does this scene pass the sniff test? Are we bunging it on too much here? Does this feel authentic? Because at the end of the day, if things are drawn authentically from somewhere, then they’re going to feel unique in a way that both local and international audiences are going to compelled by.
“The odd island taipan doesn’t hurt either…”
“Audiences can expect a show that feels super familiar in some ways, and very different in others. It should give them the same feels as their favourite of the NCIS franchise by combining high-octane action, twisty intrigue and comedy, all brought to life by a cast of unique, slightly quirky characters who are less like work colleagues and more like family… and whom you desperately want to spend an hour with.
“Except it’s set in Australia. Did I mention the taipan…?
“Jokes aside, for me as a long time NCIS fan, I’ve always thought you come for the crime, stay for the characters, and I hope that’s what audiences will take away from NCIS: SYDNEY. If we pull that off, the rest is gravy.”
By Anita Anabel
Mark Coles Smith: “They are very wonderful, strong, resilient, caring people”
Mark Coles Smith’s newest project Erotic Stories explores intimacy in all forms and for the Gold Logie nominee, the sixth instalment of SBS’ new Anthology series was a reminder of “all the connections” he had had in his own life and “what made them so significant”.
The episode, Imperfect PawPaw, centres around a woman named Leila (Zahra Newman) who meets surfer Manny (Coles Smith) while travelling to the Gold Coast for work. During one spontaneous night together, he helps her finally find peace between her body and self. But one impossible decision still looms over her.
For the Mystery Road: Origin’s actor, the character of Manny is not far from whom he identifies with in real life.
“There’s a sort of devil may care playfulness in his approach to life,” Coles Smith said during an interview with Mediaweek and Chattr’s The Entertainment Hotline Podcast before the episode aired on November 9. “But there’s also this sincere yearning to have deep connections.”
The 36-year-old also called the subject matter “interesting”, given that it’s the “idea of what are deep connections and what is the state of deep connections today in the modern world”.
“Do we care? Are we being conditioned towards deeper connection? Or are we being conditioned towards things that are sort of transient and superficial? Because, for me, depth is erotic.
He added later: “It’s actually really easy not to care. It’s actually easier not to care. And in some cases, in some segments of society, we actually turn it into a virtue. I just never went in that direction. I just never bought into that. I always thought, that even though it’s harder to care, even though it hurts to care, it’s worth it. And the world is better for it if you do.”
Coles Smith grew up with a very strong matriarchal lineage and family, who “set the standard for ways of relating with other people”.
“My mother, my mother’s sisters, all my Aunty’s are all very, very wonderful, strong, resilient, caring people,” he said. “They were all the prototype for me.”
And during the process of filming, Coles Smith recalled thinking about his past relationships — romantic and otherwise.
“I was remembering all the relationships that I have had. All the relationships that have failed. Just all the connections that I’ve had in my life and what made them so significant, so special… I remember those connections in my life and I feel grateful that they happened.”
He further explained that he felt a “desire for other people” and if he doesn’t have a “sense or understanding”, and if there isn’t an “emotional and intellectual bridge” between who they are, “it doesn’t work.”
“I need to see who they are and vice versa,” he said. “Not only the act of seeing someone else but seeing someone else be seen….I think it’s such a wonderful gift. It’s something that I really care about and it’s something that I’ve seen have a profound effect on other people.”
SBS’s deliciously provocative new series Erotic Stories premiered on Thursday, October 26 with Coles Smith’s episode to air on Thursday, November 9. All episodes are available to stream on SBS On Demand with double episodes to air at 9:30 pm on SBS each Thursday.
Customers can subscribe to for A$12.99 inc. GST per month
Fetch TV has announced that Apple TV+ is now available on the Fetch aggregation platform.
Customers can subscribe to Apple TV+ through the Apple TV app on Fetch Mighty and Fetch Mini 4K hardware for A$12.99 inc. GST per month with a 7-day free trial.
The integration of Apple TV+ will add to the Fetch content offering, which includes Free-to-Air, FAST and subscription channels, all the FTA BVOD apps, SVOD apps, and movies and shows on one menu.
Additional features such as “Ways to watch” and “My Stuff” make it easy for Fetch users to find content.
Shows available on Apple TV+ include series such as Silo, Hijack, Foundation, Emmy Award-winning Ted Lasso, as well as the third season of Emmy, SAG and Critics Choice Award-winning drama Morning Wars, and the new limited series Lessons in Chemistry, starring and executive produced by Academy Award winner Brie Larson.
Feature films coming soon to Apple TV+ include Martin Scorsese’s acclaimed Killers of the Flower Moon, Napoleon, starring Academy Award winner Joaquin Phoenix from Academy Award nominated director Ridley Scott and produced by Scott and Academy Award nominee Kevin Walsh; the spy thriller Argylle, with Henry Cavill, Sam Rockwell, Bryce Dallas Howard, Bryan Cranston, Catherine O’Hara, John Cena, Dua Lipa, Ariana DeBose and Samuel L. Jackson, and more.
Sam Hall, chief content and commercial officer, Fetch TV said, “Apple TV+ has quickly established itself as a market leading SVOD service with some of the most acclaimed and buzzworthy content available anywhere. Fetch is committed to providing a compelling aggregation experience and no platform is complete without Apple TV+. We know Fetch users will be delighted with the addition, and we look forward to further solidifying our position as ‘The Way to Watch’.”
By James Manning
A look inside top 50 dominated by retail, QSR, tech/telco and streaming platforms
Mediaweek has partnered with Nielsen and its Ad Intel product to analyse the top 20 advertisers ranked by spend for the 2023 financial year.
We also analyse the data to probe the companies that make up the top 50.
These are the advertisers who help fund the majority of content that is presented to consumers on ad-funded FTA TV, radio and publishing platforms across Australia.
Nielsen Ad Intel provides competitive advertising data. The platform enables advertisers, agencies, publishers and ad platforms to monitor ad activity across TV, audio, digital (including search and social in select markets), print, out-of-home and cinema. Ad Intel provides cross-platform advertising intelligence with actionable insights to identify prospects, analyse brand strategies and learn from past advertising campaigns to plan for the next.
The most notable change in the data this year is the absence of major government spending.
In Nielsen data for just the first half of calendar 2022, governments held three of the top four spots in terms of the biggest ad spenders. The Commonwealth Government was the biggest ad spender in the country, with the Victorian Government ranked #2 and then the NSW Government ranked #3. The messaging at the time was linked to the country looking to escape the clutches of Covid-19.
1. Harvey Norman
2. McDonald’s Restaurants
3. Woolworths Supermarkets
5. Reckitt Benckiser
6. Telstra Corporation
7. Stan Entertainment
8. Coles Supermarkets
12. Chemist Warehouse
13. Google Australia
14. Hungry Jack’s
15. Toyota Motor Corporation Australia
16. Bunnings Building Supplies
17. Walt Disney Studios Motion Pictures
18. Apple Computers
19. Aldi Stores
20. Samsung Electronics Aust
The biggest advertiser in FY 2023 is again Harvey Norman. The company reported group marketing expenses in the eight countries it trades in as a percentage of total system sales revenue for the brands was 4.3% for FY23, compared to the pre-pandemic level of 5.0% in FY19. The change wasn’t enough to let McDonald’s rank #1.
More money is spent in retail advertising than anywhere else with $2,502b in FY2023, up 4% YOY. Quick service restaurants (QSR) also sit inside retail.
Other retailers in the top 20 are Woolworths, Coles, Chemist Warehouse, Bunnings and Aldi.
Retailers outside the top 20 but still in the top 50 are Myer, Ebay, Specsavers, The Good Guys and Domayne.
McDonald’s often has a piece of the action when it comes to major media event sponsorships and it’s no surprise it ranks #2 overall in the top 20. Other QSR companies ranked in order of spend in the top 50 are KFC, Hungry Jack’s, the global giant Mondelez, and Nestle.
Just missing from the top 50 was Metcash, the wholesale distribution and marketing company behind brands including IGA, Foodland, Mitre 10, Cellarbrations, and The Bottle-O.
There were two banks in the top 20 at the start of 2022, but in FY2023 there were none. The biggest spending banks in order in the top 50 for FY2023 were Westpac, Commonwealth Bank, NAB and ANZ. Suncorp was in the top 20 during 2022 but has now dropped out of the top 50.
The finance category was down 15% in the Ad Intel data to $632m where it remains the third-biggest ad category.
Amazon.com continues to be a big spender. It sits at #4 overall in the FY2023 ranking and ticks the box as an online retailer and a tech giant. Other tech players ranked in order of spend are Google Australia, Apple Computers, Samsung Electronics Australia, and Headway (an app which sits in Education & Learning category).
Makers of consumer products include Reckitt Benckiser and vaccine supplying biopharma company GlaxoSmithKline Australia made the list. The former in the top 20, the latter lower in the top 50 list.
Telcos have always been big spenders to maintain market share as they drip feed updated products to customers. Communications is the second single biggest category with an FY2023 ad spend of $890m, down 9% YOY.
Telstra remains the leader sitting at #6 in FY2023. Other telcos in the top 50 are Optus and Vodafone.
Given the brand damage done to Optus in the last 24 hours, there could be some pressure on it to increase spend to help rebuild confidence in the brand.
Stan has emerged as the biggest-spending streaming platform in a crowded market where there is a land grab underway to secure market share. Some of the Stan advertising is with parent company Nine Entertainment in the form of effective wraparounds in the company’s major metro newspapers.
Other streamers and entertainment companies in the top 50 are Walt Disney Studios Motion Pictures, Streamotion (the Foxtel Group company that previously housed Kayo and Binge), Paramount Global and Foxtel. Market leaders Netflix and Prime Video seem to manage to lead the market without spending more than their rivals.
The Entertainment and Leisure sector was down 1% YOY to $580m.
There continues to be much focus on the gambling sector and how it might be further restricted. Sportsbet is the biggest spender and sits in the top 10. The only other players to crack to the 50 are PointsBet and Ladbrokes.
The Gambling/Gaming category is ranked 12th largest with spend up just 1% YOY to $291m.
The motor vehicle category was worth $631m, up 4%. Toyota continues to be a top 20 advertiser. Others in the top 50 are Hyundai, KIA, and Mitsubishi.
Insurance grew 10% YOY to $433m with AAMI the biggest spender. It narrowly outranked NRMA Insurance. Also in the top 50 are Auto & General Holdings (home to seven insurance brands including Budget Direct) and Youi.
The travel and accommodation category surged by 43% to $602m after Covid. The dominant spender is Qantas. Uber also sits in the top 50 with a spread of other advertisers a long way behind. Companies with increased spending included Flight Centre, Virgin Airlines, AirB&B, Ignite Travel and Booking.com.
The only other business in the top 50 major spenders is direct TV specialist Brand Developers Australia, the local arm of the company founded by New Zealand rich list regular Paul Meier.
Note: Nielsen monitors gross advertising expenditure in major media at published rate card values. While discounts are made available from some media owners, rates are not openly available. Please also note that the category and brand/product groupings figures are grouped at Nielsen’s discretion.
The report found brand alignment and CX strategies was “critical” to 83% of Australian CX professionals
Less than half (45%) of Australian CX professionals have a well-defined CX strategy, according to the inaugural State of the CX Nation report from Ipsos and Ashton Media.
The report is a first-of-its-kind for Australia’s CX industry, noted that brand alignment and CX strategies were critical for 83% of Australian CX professionals, and just 21% said they had an accountable CX governance structure.
Conducted by Ipsos between May and July this year, it is designed to set the benchmark for customer experience in Australia, allowing organisations to leverage the insights to support their critical CX business decisions.
The report focuses on identifying future trends, best practices, challenges facing CX leaders in Australia, and the evolving nature of customer experience. It highlights the growing responsibility for CX in organisations to deliver unique, differentiated, personalised and privacy-compliant experiences for customers.
The report also revealed that CX professionals surveyed were overwhelmingly clear about the need for brand and CX alignment – 84% of those surveyed said aligning brand and CX strategies were critical.
Respondents said in order to improve, CX teams needed to move from the sidelines to the centre of operational decision-making.
Additionally, the report revealed just one in five CX professionals believe their organisations are consistently incorporating customer feedback into their product and service design, despite the fact that two thirds are collecting feedback and taking steps to directly respond to customers.
Encouragingly, 64% of respondents said they had some knowledge of their customer journey and profiles, but most acknowledged there was still a long way to go in incorporating CX into business as usual – more than half (55%) of CX professionals agreed that CX was like a “fish out of water” without any clear ROI, while half of those surveyed said many benefits of CX initiatives continue to go unmeasured.
CX teams are also feeling the pressure to demonstrate a return on the customer experience, with two thirds of respondents saying they need to show a connection between CX and ROI to secure budget.
The Ipsos report also found that many organisations are actively experimenting with AI and are planning to use it within their businesses to gather critical customer data. Additionally, most CX teams are excited about the future of AI, planning to use the technology to help them grow and expand customer bases.
As CX teams prepare their strategies for next year, most are set to focus on data and analytics, customer loyalty and retention, and customer journey mapping in 2024.
Lance Webb, Ipsos CX Director ANZ, said: “As researchers and CX enthusiasts, we know our world is changing, we have witnessed seismic disruptions powered by digital and data, and the merging of physical and digital environments to ‘phygital’, which is raising the bar for customer expectations.
“Customers now compare the experiences they receive not only against direct competitors but also against the likes of Uber, Amazon and Apple. Customers’ expectations have become liquid, where new expectations of standards for product and service experience are being created by brands in completely different categories. It was a natural fit to partner with Ashton Media for this new landmark research report which will bring insights relevant to Australia that will help CX leaders make informed future business decisions.
“It’s also an exciting time for CX investment in Australia, as businesses increasingly recognise the value of delivering exceptional customer experiences. The landscape is undergoing significant growth and transformation as companies embrace digital channels, leverage cutting-edge technologies like generative AI, and enhance data analytics capabilities. I’m excited to see what the future holds for the nation’s CX offering.”
Tim Stuart-Harris, Ashton Media commercial director and co-founder, said: “Ashton Media is proud to be partnering with leading global customer experience experts Ipsos on this research piece which is unique to the Australian market. Having produced ANZ’s leading CX, customer insights and contact centre conferences for more than 10 years, we pride ourselves on delivering unparalleled insights into the CX industry with inspiring speakers, highly targeted content, and the most senior delegations in the region.
“We see the State of the CX Nation report as a natural extension of our conferences, a highly targeted in-depth piece of research that will identify the key challenges facing CX leaders in Australia and highlight the changing nature of customer experience and the growing responsibility of CX within organisations.”
Ipsos Managing Director, Liz Harley, said: “Working in the CX space is very exciting at the moment. With the increasing number of factors impacting businesses, such as cost of living, digital channels, AI, ESG, employee engagement, how to measure ROI and tough competition, it is more important than ever to strategically consider the customer experience.
“One of the key findings of the State of the CX Nation report is that now is the opportune time to position CX experts at the core of businesses, moving the CX team from the sidelines to a fully integrated and aligned position, supported by a board-level champion who can lead and influence the company’s strategic direction. By ensuring the seamless integration of the CX strategy with the overall business strategy, it will set a new benchmark for leadership in driving business growth.”
The State of the CX Nation report is based on survey data collected from 160 CX professionals nationwide, along with in-depth interviews with national CX leaders in various sectors including finance, insurance, automotive, retail, healthcare, consumer packaged goods and telecommunications.
The report is set to be released annually.
Patrick Béhar: “I am certain that the industry can adapt, anticipate and navigate the forces proactively”
Kantar has released its 2024 media trends and predictions report, looking into the macroeconomic factors and changing viewing habits that will have profound impacts on the media industry in the year ahead.
The report explores the forces shaping the media landscape based on the market insights it has developed for clients around the world.
Media experts predict that macro-economic factors and changing viewing habits will have profound impacts on the media industry in 2024, resulting in a renewed focus on library content and expanded approaches to audience measurement.
Patrick Béhar, global CEO of Kantar’s Media Division, said that more insight into data could “unlock greater foresight”.
“I am certain that the industry can adapt, anticipate and navigate the forces proactively. That is a huge challenge and opportunity for the industry to grapple with as we head into 2024.”
Sharon Hilton, Kantar Australia’s joint head of media, said that the adoption of tiered ad-supported streaming has grown steadily yet slowly in Australia. She noted that the expectation is the market will burst if the Australian market is hit with significant additional budgetary pressures.
“However, some of the key areas to watch in Australia in 2024 will be the reaction of consumers to the increased use of premium video advertising like shoppable ads and freeze frame interstitials, and the rise of FAST channels and how advertisers use these to build targeted activity.”
Hilton also noted that Kantar expects the Olympic Games will provide a hotbed of newer ad experiences and viewing platforms
“It will also be fascinating to see how AI will be used. We can’t even begin to predict the myriad of ways that this will be employed, but it certainly it will be an important space to watch.”
The Kantar report explores five key global industry trends shaping 2024:
1. Ad-supported streaming will flourish amid inflation
2023 was defined by continued economic troubles, with persistent inflationary pressure affecting consumer spending and just four per cent of global consumers saying they would prioritise online subscription services if they faced an unexpected cost they needed to cover. A key strategy emerging from this constant uncertainty is guiding audiences towards more affordable, ad-supported services. In 2024, expect to see faster adoption of ad-supported streaming services across markets – albeit at an uneven pace, and streaming companies seeking out a deeper and more nuanced understanding of audience behaviours.
2. Measures of content success will expand as viewing habits evolve
This year, the Hollywood writer’s strike provoked a re-appraisal of the value of timeless classics (such as The Office and Friends) and while production of new shows slowed, streamers turned to library content from around the world and imported formats. To make sense of both streaming and linear viewing habits, broadcasters and platforms will expand the definition of viewing and measures of success looking beyond overnight ratings towards more holistic measures, integrating first (and third) party data alongside panel data.
3. Advertisers will get smarter about segmentation and lean into the AVOD revolution
The rise of AVOD (advertising-based video on-demand) will be a key trend for advertisers. We can expect to see more experimentation as brands lean into the AVOD revolution, with product placement within popular shows, interactive ads that allow for viewer participation, and shoppable ads that blur the line between content and commerce. For advertisers, demographic-based segmentations – such as age, sex and gender – no longer suffice. Looking to 2024, marketers will adopt increasingly sophisticated targeting approaches and look to understand consumer attitudes, values and behaviour to inform their new approaches.
4. The industry will grapple with the opportunities and challenges posed by AI
2023 marked the year in which generative artificial intelligence (GenAI) exploded into the mainstream with the launches of ChatGPT and Bard. 2024 will see the media industry explore deeper integrations of AI, as well as contend with concerns around bias and copyright infringement arising from its use. 2024 may also witness an ironic predicament — an abundance of tech solutions, but a potential uptick in ad wastage.
5. Integrating multiple data sources will supercharge audience insight
In 2023, the availability of multiple data sources including direct-from-device and first-party data owned by platforms and advertisers has enabled ever more granular understanding of audience behaviours. In 2024, expect advertisers and content owners to continue to move beyond siloed first-party data to integrate information from varied sources to improve strategic decision-making.
Ryan will leave the organisation in mid-November
The AMAA Board has officially announced the departure of its CEO Josanne Ryan, and the appointment of Patrick Whitnall into the newly created role of managing director.
Over the past three years, the AMAA has worked alongside the industry, to build an industry body in the Australian Influencer Marketing Council (AiMCO). The appointment of a new MD is in recognition of the growth of the influencer marketing arena and the plans for the next phase of AiMCO.
Ryan will step down and leave the organisation in mid-November.
Josanne Ryan said: “It has been a privilege to lead the AMAA and to work with so many great people from within the industry spanning publishing, the agencies, and other industry bodies. Launching AiMCO with so many talented, innovative people from within the influencer marketing sector has been a true highlight and I look forward to seeing AiMCO thrive and evolve in the future.”
Jason Tonelli, chair of AMAA said: “For almost nine years, Josanne has led the AMAA with passion and integrity as a tireless advocate for our industry. Amongst her many achievements she leaves a substantial legacy with the establishment of a vibrant and valuable new industry body, AiMCO, along with its impressive Awards and new capability program, AiMCO Accreditation.
“The AMAA Board want to acknowledge and thank Josanne for her wonderful contribution to the advertising industry and for her dedication, professionalism, and leadership throughout. We wish her the very best for her future. endeavours.”
Speaking of the appointment of Patrick Whitnall, the Board said: “Patrick stood out as the right choice to take AiMCO forward to the next level. Patrick is an accomplished leader; one that brings talent, creative expertise, drive, passion and an exciting vision for the business.“
Whitnall said: “Having been part of the launch of AiMCO, creating the awards program, and serving as Co-Deputy Chair for a number of years, it is a great honour to be asked to take on the role of MD at AiMCO. Our awards this year are set to be the biggest yet, and the accreditation program is building and receiving amazing feedback from the attendee cohort and industry. I look forward to working with our members to deliver value to their businesses and to the industry.”
Top Image: Josanne Ryan and Patrick Whitnall
Sarah Raine: “There’s so much to build on and grow. I’m pumped”
Cummins&partners has announced the appointment of Sarah Raine as general manager of the Melbourne office.
Michael McConville, CEO of cummins&partners, welcomed Raine’s appointment – effective next week – highlighting her values, previous work and relationships as “refreshing and inspiring” for the long-term plans of the agency.
“Sarah will be a brilliant leader in that sense, and wonderfully, there’s more to come,” he said.
Raine called the agency’s long-term plans “refreshing and inspiring” to see an agency that is “committed to finding new ways to make the work work.
“There’s so much to build on and grow. I’m pumped,” she added.
In addition to bringing 15 years of experience to the role, Raine also has a slew of creative and effectiveness awards under her belt, including Spikes, Cannes, AWARD and WARC accolades.
McConville noted that cummins&partners are “pushing to the next level” with their people, processes, credentials and partnerships and are positioning itself to surprise the industry.
“We know we create work that works brilliantly for our clients, but now we can unashamedly say, we’re pushing to the next level.
McConville added: “It’s a brilliant time here and with our dream leadership team just about complete, there is good fun and truly great work ahead.”
This comes after cummins&partners named Luke Maher as its new head of media, based in Melbourne, earlier this year. His remit covers media only and integrated accounts.
Maher returns to Australia after four years in the UK where he worked at London firms Mindshare and GTB.
Earlier this year, the independent agency refreshed its branding and set up as a micro-network creative consultancy across Melbourne, Sydney, as well as New York. Cummins&partners has a renewed focus on creativity, media, content, design, interactive experiences and story-making.
Top image: Sarah Raine
Based on WARC’s proprietary GEISTE trends research, insights from 1,400+ marketers worldwide and one-to-one interviews with marketing leaders
WARC has launched the Marketer’s Toolkit 2024, offering strategic guidance to marketers for navigating challenges and capitalising on opportunities in 2024. The report draws insights from WARC’s proprietary GEISTE trends research, encompassing the input of over 1,400 marketers worldwide and in-depth interviews with industry leaders.
The Marketer’s Toolkit highlights pivotal trends reaching an inflection point that will influence global marketing strategies in 2024. These trends include socio-political polarisation, the utilisation of generative AI, the evolving concept of masculinity, concerns around “sportswashing,” and the rise of community-based sustainability.
The trend identification process integrates WARC’s GEISTE methodology, an analysis based on global surveys, one-on-one interviews with CMOs, industry commentary, and insights from WARC’s global team.
Aditya Kishore, insight director at WARC, particularly highlighted the economic concerns prevalent among surveyed marketers, “Marketers globally continue to be concerned about the economic picture with 64% of survey respondents seeing it as the biggest factor in 2024 planning.
“But a majority (61%) of firms expect improved business performance next year, up 10% from last year. WARC forecasts global adspend to grow 8.2% in 2024, topping $1 trillion for the first time.”
The report underscores the top five trends that marketers should pay attention to:
• Unlocking the potential of Gen AI: Nearly three-quarters (70%) of marketers plan to unlock the potential of AI in their marketing
• Preparing for the age of polarisation: 13% of marketers said the best strategy is to “drop all ‘purpose’ driven strategies and political positions”
• Masculinity in crisis: Almost two out of three marketers (63%) agree that the way they communicate with young men needs to change
• “Sportswashing” is a growing concern: 61% of marketers concur that it is “very important” for sports organisers and owners to avoid being politically divisive.
• Sustainability should be locally relevant: Nearly two-fifths (38%) of marketers are investing in local communities
A sample of The Marketer’s Toolkit 2024 is available to read here.
Alexandra Heaven: “We recognise the urgent need to address emissions in the media and advertising industry”
JCDecaux Australia and New Zealand has partnered with Scope3 to measure and report the carbon footprint of media and advertising.
The collaboration will introduce out–of-home advertising into the emissions footprint tool for the first time, enhancing transparency for the channel and empowering media buyers to make more sustainable choices.
The out-of-home media company is the first local out–of-home business to participate in the Scope3 tool, marking the business’ commitment to transparency and emissions reduction as the way forward.
Alexandra Heaven, head of ESG at JCDecaux, said that JCDecaux’s partnership with Scope3 highlights their commitment to sustainability and dedication to transparency. She also note that it will focus on science-based net-zero targets rather than chasing carbon neutrality.
“We recognise the urgent need to address emissions in the media and advertising industry, and the first step towards achieving this is understanding the data. JCDecaux’s partnership with Scope3 provides transparency on media emissions for campaigns and enables media agencies to support their clients in making greener choices.”
The Scope3 tool enables media buyers to assess the carbon emissions footprint of the media platforms and vendors they choose to work with. By integrating Out–of–Home advertising into this platform, media buyers will have access to emissions data for a wider range of media options, facilitating more informed and sustainable decisions, and representing a significant milestone for the industry on a global scale.
June Cheung, head of JAPAC at Scope3, said: “We are excited to work with JCDecaux, a company committed to sustainability and transparency. This collaboration will serve as a model for the industry, fostering greater accountability and environmental responsibility.”
Heaven added: “We are pleased to have Out–of–Home included in the Scope3 tool, which already exists for digital media. We are ambitious about the role we can play in driving greater change across our industry and look forward to working with like-minded partners in this space.”
First exclusive advertising partners are Qantas and the City of Melbourne
oOh!media has introduced one of the largest airport billboard in the southern hemisphere at Melbourne’s Tullamarine Airport, named ‘Queen Victoria.’ Partnering with Qantas and the City of Melbourne as the first exclusive advertisers, the mega billboard spans the length of a Boeing 737-800.
Positioned along the busy Tullamarine Freeway, the billboard grants exposure to a vast audience, listing a 100% reach of premium airport travellers. Notably, Melbourne Airport recorded 30 million passengers in the 2023 financial year.
According to Melbourne Airport, “A total of 30,783,366 people used the airport’s four terminals in the 2023 financial year, including more than 22.5 million domestic passengers and almost 8.3 million international travellers.
“The overall figure represents a 138% increase on the previous financial year, and 82% of the 37.4 million passengers processed in the 2019 financial year.”
Moreover, statistics indicate that one in five CBD workers across Melbourne, Sydney, and Brisbane have undertaken business trips in the past six months.**
This large-scale billboard boasts a state-of-the-art digital panel, capturing the attention of travellers approaching the airport and welcoming travellers entering Melbourne’s CBD.The City of Melbourne has opted for an eco-friendly approach by utilising the new Ecobanner – a recyclable, PVC-free material that is durable.
Sally Capp, the Lord Mayor of the City of Melbourne, expressed her enthusiasm, “Melbourne Airport welcomes thousands of visitors from across the country and around the world every day. That’s because Melbourne has unparalleled events, entertainment, food, job opportunities and a stellar nightlife.
“It all happens Only in the City! We’re delighted to be welcoming travellers at the ‘Queen Victoria’ site at Melbourne Airport, and hope this message helps build excitement for visitors as they head off on their city adventure.”
oOh!’s ‘Queen Victoria’ in Melbourne stands alongside ‘The King’ at Sydney Airport and ‘Big Morety’ at Brisbane Airport. Together, these sites form some of Australia’s largest and most prominent Out of Home sites, collectively reaching more than 1.3 million people on the eastern seaboard within 28 days.*
Elise Taylor, group director of enterprise at oOh!, emphasised, “The introduction of this mega site to our portfolio strengthens our ability to connect brands with premium audiences at Melbourne Airport. Its size ensures high visibility, offering advertisers a choice between digital and classic formats.”
“The Melbourne site, in conjunction with our significant sites in Sydney and Brisbane, can be acquired individually or as a package to maximise impact across oOh!’s Fly network, encompassing airports in 16 Australian cities and 20 terminals.”
*MOVE, P14+ 28-day duration, 10% SOT
**Nielsen CMV National Survey S01 2023.
Ant Keogh: “Australia Post and Santa Claus go together like milk and cookies.”
Australia Post has introduced a new intern in a recent campaign in collaboration with The Monkeys, part of Accenture Song.
The fifth year of Australia Post Christmas commercials by The Monkeys features a storyline where a curious Santa Claus assumes the role of intern “Nick” at Australia Post, teaming up with postie Alex. Together, they explore how Australia post gets the job done during the Christmas season; no magic needed.
Catriona Noble, EGM of retail, brand and marketing at Australia Post, commented, “Australia Post is proud to deliver Australian’s their Christmas presents each year, but whilst Santa has reindeer and sleighs, we’re slightly more 2024 with our App, Parcel Lockers and electric powered fleet and this campaign juxtaposes those two contrasting worlds in a really charming and fun way.”
Ant Keogh, chief creative officer at The Monkeys, mentioned how the campaign celebrates Australia Post and Santa Claus “in a way that’s fun and entertaining.”
Keogh said, “Australia Post and Santa Claus go together like milk and cookies. They both work hard to deliver joy at Christmas time, and both have a penchant for the colour red.”
The campaign, directed by Tony Rogers from Guilty Content, has been launched nationally across television, in-store, online, radio, and social.
Client: Australia Post
EGM, Retail, Brand & Marketing: Catriona Noble
Head of Marketing: Aimee Dixon
Senior Manager, Brand Marketing: Karen O’Connor
Senior Manager, Brand Marketing: Emily Howat
Marketing Graduate: Trey Braione
Creative Agency: The Monkeys, part of Accenture Song
Chief Executive Officer: Paul McMillan
Chief Creative Officer: Ant Keogh
Chief Strategy Officer: Michael Derepas
Strategy Director: Dave Collins
Senior Art Director: Ben Horewood
Senior Copywriter: Michelle Canning
Head of Design: Raph Tamkalis
Junior Designer: Noel Yeung
National Head of Production: Romanca Mundrea
Senior Producer: Eliza Malone
Chief Client Officer: Jaimee Kerr
Senior Account Director: Kim Thompson
Business Manager: Max Speer
Production Company: Guilty
Director: Tony Rogers
Producer: Rohan Timlock
Sound & Composition: Rumble Studios
Post Production: Tim Parrington & Jaime Scott
Sam Buchanan: “This module represents our ongoing commitment to promoting Australia’s audio sector”
Independent Media Agencies of Australia (IMAA) has launched its latest e-learning module, Audio101, as part of its IMAA Academy program.
Audio101 will provide participants with a detailed analysis of Australia’s audio media landscape, exploring the sector’s key channels, industry bodies and offerings.
It is the latest course in the IMAA Academy’s eight-part education program and is a collaboration between the association and Commercial Radio & Audio (CRA), the industry body representing the interests of commercial radio broadcasters throughout Australia.
The online course will provide a deep dive into the nation’s audio sector, including learnings around radio strategy, planning, buying and booking audio, and tools and measurement techniques.
The module also includes an Audio101 glossary and toolkit, with valuable resources and links to help agencies navigate the national audio industry.
Audio101 is the fifth platform-specific, online learning module created as part of the groundbreaking IMAA Academy. Launched in March this year, the academy aims to provide a comprehensive learning platform for the media industry, focused on exploring the foundations of Australian media.
Ford Ennals, Commercial Radio & Audio CEO, said: “Radio and audio are the most personal, immediate, and conversational tools available to advertisers, able to reach almost 19 million Australians – and thanks to technological advances, radio now goes everywhere with listeners.
“More than ever, audio is part of the everyday Australian experience – whether it’s via digital radio in the car during the school run or work commute, over a smart speaker at home, or a podcast or streaming app on the phone. These days everyone online is an influencer, but I’d argue radio is the original influencer and remains the best.
“I am excited that the IMAA Academy Audio101 module will be launched to offer media planners and buyers crucial insights into the evolving, expanding world of radio and audio. This module has been created by radio and audio experts and will show users exactly how radio campaigns can deliver impactful, direct and affordable results.”
Sam Buchanan, IMAA CEO, said: “Audio, particularly radio, continues to be a mainstay of the national media sector, with 17 million Australians listening to radio every week*. We’ve also seen the significant growth of podcasts and online streaming in recent years, reaching 18 million Australians every month*, making audio a critical part of agency media buying strategies.
“This module is a collaborative effort between the IMAA and the CRA and represents our ongoing commitment to promoting Australia’s audio sector and providing continued education and training around audio media strategies.
“Audio has stood the test of time as a potent medium in the ever-evolving marketing landscape, with a unique ability to engage audiences, target specific demographics at-scale and activate campaigns almost immediately if needed. I’m confident Academy participants will have a renewed understanding of the sector and the importance of adding audio into their 2024 advertising plans.”
This year’s IMAA Academy syllabus has included eight e-learning media course modules, rolled out every six weeks, along with videos and podcasts featuring industry leaders and channel specialists. Participants of the IMAA-certified modules receive a badge once they successfully complete an exam for each course.
The academy has trained more than 736 participants from 57 agencies and partners across Australia. The academy’s final 2023 courses – publishing and news and digital will launch in December this year and February 2024 respectively.
By Anita Anabel
Hard Quiz tops prime-time entertainment
• Harry and Teddy eliminated from The Amazing Race
Seven News 873,000 (6:00pm) / 870,000 (6:30pm)
Nine News 732,000 (6:00pm) / 757,000 (6:30pm)
ABC News 532,000
10 News First 181,000 (5:00pm)/ 132,000 (6:00pm)
SBS World News 133,000 (6:30pm)/ 117,000 (7:00pm)
Daily Current Affairs
A Current Affair 635,000
The Project 174,000 6:30pm / 275,000 7pm
News Breakfast 161,000
Nine won Wednesday night with a primary share of 18.3% and a network share of 27.4%. 7Two and 9Gem have won multi channels with a 3.4% share a piece.
Seven received a primary share of 15.8% and a network share of 24.7%.
10 took a 12.1% primary share and a network share of 19.1%.
Nine’s A Current Affair (635,000) looked at how more than 10 million Optus customers were fraught with frustration on November 8 by a network-wide outage that impacted both personal and business customers. Mystery continued to surround the cause of the outage, with the telco describing it as a “technical network fault”.
Then, 347,000 watched My Mum Your Dad. Chloe intervened, taking Boss for a private chat after she struggled to watch him create a “toxic” environment with the Mums. “I think it’s time for us to go home,” she told him, eliminating themselves from the show. Shannon confronted Kim before Masi made a tearful admission. “My heart is calling for connection, I can feel it coming,” he said.
Luxe Listings Sydney then followed for 162,000.
460,000 began their evening in Summer Bay with Seven’s Home and Away as Felicity made a heartfelt plea to Tane and it was revealed that Dana used to work with Dr Levi (Tristan Gorey – pictured)! Adding to the stress, she was worried that he also would buy into the gossip surrounding her exit from her old hospital; however, he reassured her that he didn’t.
Then, it was time for Big Brother Australia. While yesterday saw 213,000 watch on, 212,000 tuned in for the Wednesday instalment. The house gathered for a post-mortem on the first eviction and while it has only been a few days, Jake has managed to somehow attach himself to not one but three girls… Minee, Annelise and Ari.
143,000 then sat down for A Year on Planet Earth, this time focusing on Autumn, the season of change. For many, change brings opportunity, but also huge challenges. It offers a chance to begin again or take a new path in life.
484,000 watched ABC’s 7.30 explore how the October 7 attack on Israel had shattered the myth of Benjamin Netanyahu. The program also looked at the ban on single-use plastics, and how a new industry is stepping in to take its place – compostable packaging. Plus Sarah Ferguson interviewed Mark Regev.
486,000 then watched a repeat of Hard Quiz as Tom Gleeson grilled experts on Shane Warne, World War II’s Dam Busters raid, the novels of James Herriot, and reality TV show Survivor.
Question Everything’s Wil Anderson and Jan Fran were then joined by Zoe Coombs Marr, Rhys Nicholson and Alex Lee. 429,000 tuned in.
285,000 also viewed Australian Epic.
On 10, The Project (174,000 6:30pm / 275,000 7pm) welcomed The Masked Singer Australia winner Dami Im and runner-up Darren Hayes. Plus looked at billionaire Bryan Johnson’s quest to live forever, doing anything he can to make sure he does, including injecting himself with his son’s blood.
The Amazing Race: Celebrity Edition followed for 447,000. With four teams vying for three spots in the Grand Finale, the stakes had never been higher. Racing through the highland jungles of Borneo, Darren and Tristan were the first to reach the Pit Stop while Harry and Teddy were last to arrive and were eliminated from the Race.
Flick Ride Like a Girl was up next which told the story of jockey Michelle Payne, the first female to win the Melbourne Cup. 206,000 tuned in.
SBS saw Myf Warhurst present Meet the Neighbours, the social experiment where eight households of diverse cultural backgrounds moved from the city to Maryborough. 101,000 watched on.
Then, 60,000 sat down for Alone UK. The reality of living alone in one of the most inhospitable places on Earth was kicking in, threatening 19-year-old student, Kian.
885,000 viewed Seven’s Home and Away as Felicity and Mackenzie went head to head, up 28%.
747,000 saw Seven’s season Finale of SAS Australia 2023. Tim Robards and Matthew Mitcham passed selection, up 33%.
693,000 caught Ten’s coverage of the Matildas v Chinese Taipei in the AFC Qualifier, up 17%.
670,000 sat down for ABC’s Hard Quiz, up 6%.
661,000 tuned into 10’s The Amazing Race as Jana and Cor were eliminated, up 51%.
515,000 watched Nine’s My Mum Your Dad where Dani was ‘hurt’ by Boss‘ true feelings, up 39%.
|ABC KIDS/ ABC TV PLUS||3.8%||7TWO||3.4%||GO!||1.5%||10 Bold||2.7%||VICELAND||1.6%|
|ABC ME||0.4%||7mate||3.3%||GEM||3.4%||10 Peach||3.2%||Food Net||1.1%|
|7Bravo||1%||9Rush||1.5%||SBS World Movies||1.2%|
|ABC||Seven Affiliates||Nine Affiliates||10 Affiliates||SBS||Sky Regional|
|ABC||12.9%||7||15.9%||9||13.3%||10||9.4%||SBS||3.4%||Sky News Regional||4.6%|
|ABC KIDS/ ABC TV PLUS||4.3%||7TWO||4.2%||GO!||1.3%||10Bold||3.6%||VICELAND||2.1%|
|ABC ME||0.5%||7mate||6%||GEM||3.9%||10Peach||3.6%||Food Net||1.3%|
|ABC NEWS||1.8%||7flix (Excl. Tas/WA)||1.2%||9Life||3.2%||Nickelodeon||1.1%||SBS World Movies||1.1%|
|WEDNESDAY 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
Streaming platforms like Netflix, Disney+ and Amazon Prime Video cut their spending on Australian TV shows and films in the 2022-23 financial year, despite Labor’s impending plans to force them to make more, reports Nine Publishing’s Sam Buckingham-Jones.
New figures released on Wednesday by the media regulator show Disney+, Netflix, Paramount+, Prime Video and Stan spent a combined $324.1 million on 1583 Aussie programs in the most recent financial year – down from $335.1 million on 718 shows in 2021-22.
Spend on “Australian-related” shows – those are partly Australian, like Disney’s Indiana Jones and the Dial of Destiny and Obi Wan Kenobi – rose to $452.9 million from $333.4 million.
In many respects, Walt Disney Animation Studios is, to slightly misquote Gilbert and Sullivan, the very model of a modern major studio. A billion-dollar library of assets playing out on one of the world’s most successful streaming platforms while factories crank out shelves of action figures, acrylonitrile butadiene styrene posed and painted to mimic iconic moments from the studio’s films and TV series, reports Nine Publishing’s Michael Idato.
At its heart is the studio’s chief creative officer Jennifer Lee, who wrote and co-directed Disney’s mega-hit Frozen and its sequel Frozen II. As one of the few women leading a major Hollywood studio, she is a poster for modernity. And yet, at her side, is the imperceptible but ever-present ghost of the studio’s founder, Walt Disney. In real terms, it is one of Hollywood’s great silent partnerships.
Optus customers are threatening legal action over Wednesday’s mass outage, with thousands of businesses unable to trade and millions of Australians unable to access essential services, reports News Corp’s Eli Green.
More than 10 million customers and 400,000 businesses were impacted after the telecommunications giant’s mobile services went down at 4am AEDT and remained offline for the majority of the day.
The telco is yet to reveal the root cause behind the blackout, but the government has confirmed the outage was triggered by a fault in the provider’s core network.
Facebook has agreed to reinstate RMIT FactLab to its factchecking program two months after it was suspended in the wake of repeated complaints by Sky News Australia about the key factchecker’s debunking of claims by the no campaign about the voice, reports The Guardian’s Amanda Meade.
No voice campaigners – including Sky host Peta Credlin, Liberal senator James Paterson and the right-wing thinktank the IPA – claimed RMIT FactLab was biased and demanded Facebook remove it from its program which aims to tackle online misinformation.
The Australian’s editorial director and host of the daily The Front podcast Claire Harvey has taken out the Chairman’s Award at the annual News Corp Australia awards on Wednesday night, reports The Australian’s Jenna Clarke.
The Australian’s groundbreaking investigations, audio productions and peerless business reporting were also recognised at the glittering event in Sydney.
A six-part podcast series that delved into concussion in sport was recognised as the best audio/visual campaigns.
More than 200 ABC journalists participated in a mass meeting about the public broadcaster’s coverage of the war in Gaza, with a number of grievances raised leading to a possible shift in how the conflict is reported on, according to several people who attended, report Nine Publishing’s Osman Faruqi and Calum Jaspan.
The meeting on Wednesday afternoon, which ABC staff described as emotional and at times heated, took place in person and online and was initiated by Mark Maley, the ABC’s editorial policy manager.
The New York Times now has more than 10 million subscribers, the company said on Wednesday, edging closer to its goal of 15 million by the end of 2027, reports The New York Times’ Katie Robertson.
In its third-quarter report, The New York Times Company said it had added 210,000 net digital-only subscribers in the three months through September, giving it 9.41 million along with 670,000 print subscribers.
The Masked Singer star Darren Hayes has opened up about the heartbreaking reason he finally agreed to do the show, reports News Corp’s Joshua Haigh.
Hayes revealed that he’d been asked countless times to take part in the competition, both in the UK and in Australia, but had always turned producers down. However, this year he felt differently and decided to sign up.
Hayes had a tough year, and decided that signing up to the show would be the perfect “distraction” from grieving the end of his marriage and the financial pressures that came with that.
In a case of life imitating art, the Australian-American friendships forged on NCIS: Sydney are also set to play out in a mutually beneficial business deal between Paramount+ and CBS, reports News Corp’s Mikaela Wilkes.
The actors union SAG-AFTRA responded to Hollywood studios’ “last, best & final offer” on Tuesday, telling its members there are “essential items” the two sides have yet to reach agreement on, such as the use of AI.
The locally filmed NCIS: Sydney was originally planned for an Australian only release, however CBS commissioned the series to help fill holes in the network’s schedules as the Hollywood strikes surpassed 115 days.
Friends was the No. 1 most popular show on U.S. streaming services in the past week, according to new data — coming after news of series star Matthew Perry‘s death, reports Variety Australia’s Todd Spangler.
For the week of Oct. 30-Nov. 5, Friends (which is available on Warner Bros. Discovery’s Max) was the top-ranked TV show among American viewers, according to data compiled by streaming guide JustWatch. That was followed by limited series All the Light We Cannot See on Netflix and Gen V on Amazon’s Prime Video.
The interest in the Melbourne Cup grew this year and resulted in the national average television audience increasing by nine per cent to 1.472 million viewers, reports The Australian’s Sophie Elsworth.
Official ratings from OzTAM showed Network Ten’s live broadcast of the nation’s biggest horse race attracted a national average audience that was 121,000 viewers higher than last year when the Cup drew 1.351 million viewers.
Jockey Mark Zahra celebrated his second Melbourne Cup victory in a row, on Tuesday riding Without a Fight to victory in front of a crowd of nearly 85,000 fans in what turned out to be a hot spring day in the Victorian capital.