The Mediaweek Academy held its ninth session at News Corp’s office in Surry Hills on Wednesday, October 25. 

Attendees returned to the session focused on Partnerships and Collaborations, led by facilitator Rowena Millward, a global leader in business and personal growth. 

Accompanying Rowena on the panel was Legend Lou Barrett, Managing Director Sales, News Corp Australia, Legend Clive Burcham, Founder and CEO of the Compadres Advisory and Superstar Danni Hudson, Group Client Lead at Snap Inc.

The session focussed on what goes into obtaining and maintaining meaningful work partnerships and collaborations with both Legends and Superstar giving effective tips on how to treat people with respect and integrity in order to build meaningful partnerships.

Danni Hudson, group client lead manager at Snapchat APAC, shared that she hopes attendees learn the importance of the evolution of relationships and partnerships.

“Trust is the at the core,” she highlighted.

“Communication is the foundation of partnerships and my Mum always told me that you just never know who or what’s around the corner in terms of opportunity.”

Similarly, Lou Barrett hoped attendees saw the value of partnerships in their careers.

“Partnerships are the most important thing you’ll ever have in your career because they have longevity. I hope they learned that to focus on having really successful partnerships, and you’ll have longevity,” she added.

“The client is always right even when they’re not, and you should be focused on delivering an outcome for a client at all times.

“Nobody is going to buy twice what didn’t work once.”

Clive Burcham said he hoped attendees learned that: “communication is key and that it’s a long-term game and the importance of relationships.”

“A quote I used before is the success of your life will be determined by the number of quality collaborations you have. So, you need to find clients and foster relationships where people become engaged with your level of vision that you have either your business or their business,” he added.

While Hudson, Barrett and Burcham were forthright in sharing their industry experiences and wisdom, they all noted that everyone will experience similar challenges no matter their level and level of experience.

After participating in the panel and engaging with the attendees, Hudson noted that it was exciting to see change.

“There are a lot of different skill sets that are required and needed, and there’s a lot of diversity and thinking. That’s a fascinating part of where we’re going now.

Barrett said she was happy to see people passionate about their work.

“There would be nothing worse than people coming through in the industry who weren’t passionate about the industry. Having been in the business for such a long time, I’m so passionate about it.

“So, I hope those people, and I think they are, have that passion and want to improve. That gives me a lot of hope for this business,” she added.

For Burcham, he was excited to see the level of curiosity from the attendees. “I think that younger people in the industry are seeking wisdom and asking questions,” he said.

“They’re also coming up against the same issues I had 10, 20, 30 years ago. So, there is a cycle of similar issues.

“By engaging with things like the Mediaweek Academy, you’re able to source out some of that wisdom so you don’t make the same mistakes,” Burcham added.

Kate Brown, Creative Connections Planner at UM Australia said: “I look forward to taking what I learnt today and applying it to my day-to-day work. I plan to implement more engaging feedback that’s beneficial to the publisher in a way that we can continue to build a lasting relationship.”

Paramount surprised agencies and brands this upfront season by hosting a series of presentations in Sydney on Tuesday and Wednesday.

While more are planned for the other state capitals this week, Sydney attendees were treated to an intimate showcase of the network’s new innovations and measurement capabilities, as well as new and returning content to expect in the year ahead. 

Following the presentations, Mediaweek caught up with media buyers from holding companies and independent agencies for their thoughts on Paramount’s offering, what piqued their interest and if that will move the needle on the amount they spend with the network.

Jarrod Villani, Daniel Monaghan, Beverley McGarvey and Rod Prosser

See more: Paramount Upfront 2024: Every Announcement

Daniel Cutrone, managing partner, Avenue C

Paramount10 are rolling out some big, bold and risk-taking moves, which we hope will deliver more hits than misses in 2024.

Coming out of the gates, the return of the 90s smash, Gladiators will see a family fun alternative to the Tennis and Cricket premiums in January. We’ve seen the success in the past with I’m A Celebrity, so this strategic move has the potential to gain audiences.

In a refreshing contrast to the other networks, Paramount10 are re-energising majority of their programming slate with fresh formats and hosts. Whilst this will generate early interest in the properties, the true test will be in how they maintain audiences throughout the series.
 
We are beginning to see the benefits of the multinational Paramount/CBS with its new host, award-winning UK funny-man Graham Norton, hosting Wheel of Fortune Australia, but there is significantly more talent potential here with its global base.

Grant Denyer, Sandra Sully, Rod Prosser, Beverley McGarvey, Jarrod Villani, Robert Irwin, Beau Ryan, Tara Rushton, Blair Joscelyne, Julia Morris, and Daniel Monaghan

Whilst Paramount10 clearly attempts to cover all possible entertainment options, it lacks the dominant sporting accolades of its competitors, however, Ten will be the home of Formula One and digital network Bold will telecast the A-League & NBL matches through the 2024 seasons.

Paramount10’s partnership with KERV is pioneering the CTV experience in our market, bringing innovative ad formats (i.e. Shoppable TV, Ad Selector, Smart Snap) to its repertoire, backed by the Innovid partnership demonstrating tangible business outcomes through attribution.

2024 has also been marked as the year of the SVOD ad-tier model, with Paramount+ announcing that it too are opening its doors to advertising. Paramount+ will launch the exclusive NCIS: Sydney and Top Gear Australia with Beau Ryan, Jonathan LaPaglia and Blair “Moog” Joscelyne; among other premium originals including: Special Ops: Lioness, Tulsa King.

Paramount feel like they have all the puzzle pieces now in place to hold audiences across linear, BVOD, AVOD and now SVOD and are probably best prepared to mop up viewing fragmentation than any other network.

Suzanne Mellon, head of investment IAG, Initiative

Taking a sensible approach to their upfront, the more exclusive, understated, and tailor-made Holdco based sessions were a hit, where extensive Q&A allowed the audience to play a bigger role in the event. What was clear from the upfront was firstly, the impact of their global presence, allowing for the execution of global strategic intelligence in conjunction with localized market expertise.

Secondly, was the emphasis placed on their unified approach with the phrase “We are One,” with a multi-platform offering across 10, 10 Play, Nick, Paramount+, and MTV. This comprehensive content presence translates into disruption across BVOD, AVOD, and FAST platforms.

The presentation centered on content, showcasing highlights from their extensive multiplatform ecosystem while celebrating their substantial audience base of 16.2 million. They took pride in being the fastest growing on several platforms, notably Paramount+.

We commend the network for confronting the evident challenge they’ll encounter in 2024, competing against the formidable force that is the Olympics. Offering a distinctive, family-friendly, brand-safe alternative with the aim of not only securing most of the viewership outside of the games but also diverting those Olympic saturated audiences.

Paramount will be hoping the reality show serves as a platform to retain these newfound audiences on the network in the long term. For advertisers, this is a strong alternative to the behemoth and for brands who cannot compete with category competitor sponsors, rather than playing second fiddle with share of voice, can look to engage with this nostalgic format and deliver clear space.

Recognising the fact that there is a “void left by a man that cannot be named” (aka Dr Chris Brown), the introduction of Robert Irwin alongside Julia as the dynamic duo in the jungle was presented through an animatic jingle that is sure to excite and delight audiences.

Although filling the shoes of Chris Brown is no small feat, Ten’s decision to bring on a quintessential Australian figure who closely aligns with Ten’s persona is a strategically sound move. My intuition suggests that he will captivate audiences and become a guilty pleasure to many. Capitalizing on his father’s status as a national treasure, this change is poised to broaden the show’s viewership demographics, with a notable increase in older viewers.

Robert Irwin and Julia Morris

Paramount openly acknowledged their responsibilities for 2024, aiming to inspire advertisers by emphasizing their commitment to “taking a big bold swing and knocking it out of the park from the get-go”.

Nevertheless, it would have been beneficial for more comprehensive insights into their strategies for reclaiming audience share, particularly given the evident challenges they face. These challenges include the absence of a national (regional) footprint and a presence beyond the realm of total TV, distinguishing them from their fellow Free-to-Air counterparts.

The key announcements outside of content could have benefited from more extensive elaboration, offering a clearer visualization of how these initiatives would be executed and their practical applications to specific advertising categories. In particular, the Brand Boost offering aligns with prevalent market trends emphasizing personalization and relevance. However, presenting a real-life example to illustrate its implementation would have resonated more strongly with the audience, enabling more informed discussions with clients.

Chris Parker, founder and CEO of Awaken

In the recent whirlwind of network unveilings, Paramount+ has carved its niche. While Seven and Nine have delved deep into Sport and the Olympics, Paramount+ is utilising its global network to build its audience. 

Paramount+ has again presented a solid line-up of returning crowd-pleasers. Shows like The Bachelors Australia and The Masked Singer Australia have consistently drawn in viewers. Their unfaltering appeal serves as a magnet for both audiences and advertisers.

Yet, it’s not solely about the stalwarts. Paramount+ demonstrates its dedication to varied programming with the resurgence of classics such as Gladiators. This is complemented by the fresh addition to the revamped I’m A Celebrity… Get Me Out Of Here! featuring the beloved Robert Irwin, this crowd pleaser will grace our screens again.

Channel 10’s new content, with shows like Australian Survivor: Titans v Rebels and the renowned game show Deal or No Deal, layers on more advertising possibilities. With their widespread allure, these programmes secure prime-time spots.

Top Gear Australia returns with a local flavour, reviving nostalgia aimed squarely at the automotive market’s advertising spend. Add to this a touch of sentimentality with iconic programmes like Teenage Mutant Ninja Turtles and SpongeBob SquarePants marking their anniversaries, and Paramount+ is poised to cater to both young and seasoned viewers, paving the way for diverse campaigns.

However, Paramount+ is not resting on its content. Joining ranks with other platforms, it introduces Premium and Advertising subscription tiers, underpinning a commitment to superior viewer engagement, I just hope it does better than Netflix’s launch of an ads tier….

Pioneering endeavours such as Shoppable TV and the Innovid partnership chart exciting waters. With these more interactive, direct-to-consumer advertising strategies, the evolution of sponsorships promises real-time sales boosts, especially in the fashion sector.

Coupled with the integration of VOZ streaming, advertisers are assured a fluid experience across multiple BVOD platforms. Together with Seven and Nine, Paramount+ is set to accentuate performance and reach, making them central themes of 2024.

The forthcoming year promises much for Paramount+. It will be especially interesting to see which brands will partner for in-show shopping. Will it be The Bachelorette featuring real-time ‘The Iconic’ adverts or perhaps MasterChef paired with ‘Uber Eats’. We will wait and see.

Frank Carlino, group investment director, Carat

Today Paramount revealed its content business plan for 2024 at an intimate gathering on Saunders St.

Paramount is the only Australian media company that has a guaranteed pipeline of global and local content, with distribution across all mediums – free-to-air, BVOD, SVOD and AVOD with FAST.

Last year, Paramount promised continued focus on scaling their streaming platforms – 10 Play with the introduction of Live TV with Pluto TV and Paramount+, while maximising their traditional business. 

In 2024, Paramount made it clear from the outset its focus was on “fresh content, measurement and attribution, and less on areas of converged audiences and sport”. Will that come back to bite them is anyone’s guess….

What is safe to say though, is the re-energized focused early evening schedule looks like a proven alternative to the Olympics which can only be a good thing for the network. Spearheaded by a content slate which “bursts out of the blocks” starting with IAC in January and a new host in Rob Irwin.

Lovers of nostalgia will embrace Gladiators, Wheel of Fortune & Deal or No Deal. Proven ratings success stories in Gogglebox, Masterchef & Survivor which will further deliver consistent audiences for a programming format that has lacked “survey year” consistency in the past.

Outside of content, Paramount have enhanced their world class ad tech and trading capability, as well as deepen their growth opportunities through integration and partnership. However, the “game changer” in my eyes is the much-awaited launch of Paramount+ Premium Viewer & Ad Tiers to roll out mid-November into 2024.

Paramount + will meet viewers where they want and be there for what they want to watch, with a slate of desirable local content in NCIS Sydney, Paper Dolls, Top Gear Australia, Last King of the Cross and MTV Aussie Shire enough for anyone to pay the $13 a month for.

Not a TEN, but a Paramount performance that’s deserving of the accolades. Pun intended.

Maisy Richardson, national commercial director and Brisbane head of investment at Zenith

In contrast to the glitz and glamour of recent upfronts, Paramount’s 2024 event was a more intimate affair. Their focus was on quality entertainment programming, with a pipeline of global and local content across a broad ecosystem – FTA, SVOD and streaming – catering to varied viewer ages and interests.

Their programming strategy largely mirrored 2023 with all the fan favourites back next year, showing confidence that their current slate is drawing a different audience to competitor networks.

This was the most content focused of the upfront presentations, with a smattering of new talent and announcements aimed at drawing in audiences though nostalgic revivals, such as the re-launch of Gladiator and Deal or No Deal as well as the return of Ready, Steady, Cook and Wheel of Fortune with Graham Norton to our screens during prime time.

SVOD offerings on Paramount+ were front and centre, with the launch of their premium streaming service on 16 November as well as advertising tiers in 2024. While they left us hanging on a more specific date, it seems Paramount+ will give advertisers the ability to maximise reach across their platform and drive higher engagement with audiences in environments curated by the viewer.

On the innovation front, Paramount announced a compelling suite of measurement solutions. The most interesting being LiveRamp, which will utilise advertisers’ first party data to link media activity with business outcomes.

Notably, Paramount also announced the pilot of Shoppable TV in Australian Survivor, which will integrate into KERV technology to engage and provided viewers a shopping experience through the larger screen. Such a move will give brands more opportunity to connect beside the traditional 30-second TV spot. If effective, we should see this format rolled out to other tent-poles on the network.

As we move into an Olympic year, sport will continue to be a juggernaut on Free-to-Air TV. Changes to AFL and Cricket streaming rights will ensure both major summer and winter codes are more accessible to viewing audiences than ever before. Other networks can leverage their sporting platforms to promote upcoming content, attracting a breadth of viewing audiences.

However, with soccer (football) the only major sports code in their arsenal, Paramount needs to capitalise on the significant interest generated by the Matildas and the recent FIFA World Cup. It will be intriguing to see if they can parlay this interest into long-term engagement for fans and advertisers alike.

Matt Papasavva, managing director at This is Flow

The event was absolutely a refreshing change to what I’ve come to expect from a traditional market upfront. The strategic shift to smaller, more intimate group as opposed to one mass audience was definitely the right one, and ultimately allowed the Paramount team to capture attention – in my opinion, at a much higher level than the same content would have received in a mass group.

The offering at its core is simple and underpinned by the idea of best local content / talent, any time, any place. Leaning into their access to SVOD is a differentiator and will be one to closely monitor, particularly once ad-supported and premium tiers are rolled out to Australian market.

The most interesting selling points was absolutely the focus on attribution and measurement. The launch of their shoppable TV pilot has the potential to be a game-changer, although there are questions whether users will choose to engage with the format during their lean-back viewing time.

BrandBOOST and independent brand lift studies will excitingly offer clients an opportunity to have a more personalised message and then understand the real impact of that investment, which for us at This is Flow absolutely resonates.

There was an opportunity for more time to be spent discussing their focus on measurement, however in a relatively shorter Upfronts session, it’s also clear why more time would be spent highlighting their more flashy announcements of new shows, returning shows and the talent slate for 2024.

For me, it’s going to be interesting to see the real impact of their new innovations, coupled with their programming slate for 2024…particularly in what will be a challenging year, made even more competitive in having to compete with the Olympic Games.

Andrew Murray, head of trading, UM Australia

Paramount’s more intimate approach in delivering their Upfronts for 2024 was a refreshing way to hear from the business on their plans for the year ahead as it allowed for a two-way engagement with some robust questions raised from the floor.

From a programming perspective, Paramount have a well-defined strategy as they move into 2024 with a focus on a core People 25-54 audience. Their existing programming such as: Have You Been Paying Attention, Survivor Australia, Masterchef, Googlebox Australia, Cheap Seats and The Amazing Race deliver pockets of consistent audience for our UM clients.

New programming joining in 2024, such as: Gladiators, Deal or No Deal, Wheel of Fortune with Graham Norton should help build out further consistency and stability in their audience delivery.

For UM’s clients, investment levels with media partners are always driven by their ability to deliver audiences that we have defined as critical for business outcomes. In 2024, increased investment with Paramount will be based on audience improvements from their 2023 levels. Their approach to Q1, 2024 looks strong, with Gladiators leading into Survivor Australia and then I’m A Celebrity and they will need to see this fire to give us, and our clients confidence on their continued delivery throughout the rest of the year.

Finally on programming, their limited sport offering vs. their competitors is a watch-out. Although Sport is not the be all for all clients, it does offer competitive networks to deliver promotion for the rest of their schedule.

We will be watching Paramount’s evolution into Total TV converged trading on a national scale and it will be critical to have them work closely with SCA Regional to ensure they offer a competitive national product similar to what Seven and Nine are able to.

From a streaming perspective, the new announcement regarding the ad-tier coming in 2024 is well received as it delivers us the ability to target audiences which have moved away from more traditional screens such as Linear TV and BVOD. It will be critical for Paramount to get the model right for Paramount+ when it launches as to ensure that there is scale from the beginning.

The continued innovation in the digital space, such as the global pilot for shoppable TV in Survivor Australia offers clients new opportunities to use an engaged audience to deliver on business outcomes.

Marianne Lane, head of investment, Kaimera
 
 
I thoroughly enjoyed Paramount’s more intimate upfront session this year. The close-knit setting added a personal touch that made the entire event more engaging.
 
Paramount has some great core programs, such as Thank God You’re Here, Survivor, Gogglebox, The Hunted and Masterchef, and the session served as a reminder of the quality of these programs. One highlight that particularly caught my attention was the announcement of the return of Gladiators. I firmly believe it will contribute significantly to Paramount’s strong start to the year. The nostalgia associated with Gladiators, coupled with the network’s commitment to maintaining its excellence, promises an exciting viewing experience.
 
Additionally, the announcement that Robert Irwin is taking over as the new co-host for I’m a Celebrity injected a fresh burst of energy. Irwin’s charismatic presence and genuine enthusiasm are bound to breathe new life into the program. It’s a strategic move which introduces a captivating personality that aligns seamlessly with the show’s adventurous spirit.
 
I am optimistic about Paramount’s trajectory in the upcoming year. The blend of established favourites and innovative additions positions Paramount as a network committed to delivering compelling and dynamic content.

Michael Betts, head of media solutions and investment, Sydney, EssenceMediacom

Paramount Plus
The most exciting news by far was the announcement of an ad-supported tier to Paramount Plus. As audiences across the screens landscape continue to become fragmented, particularly with younger audiences, any opportunity to extend reach with these audiences is good news for advertisers.

There are an increasing number of reasons for Aussies to add Paramount Plus to their subscription mix with a second series of the successful Last King of The Cross, Matildas and Socceroos fixtures, and the launch of Top Gear Australia. The cheaper Ad-supported tier will make it far easier to grow the subscriber-base with consumers struggling to justify subscribing to a 4^th or 5^th platform.

However, by introducing an ad-supported tier (as Netflix did) rather than introducing ads to the existing standard tier (as Binge and Prime did) could mean that audiences start at a low level making it hard to scale activity from launch. 

Top Gear Australia

Content Slate
The content slate was full of tried and tested formats that are proven winners with audiences. While not revolutionary and unlikely to win over younger audiences at scale, they provide familiarity with existing audiences and an element of predictability and security for advertisers. Paramount seem conscious of this, keen to point out the variety of audiences they can reach across SVOD, BVOD, FAST and Linear formats.
 
Measurement
The Paramount Data collaboration tool, allowing advertisers integrate their own first party data to measure the impact of Paramount in their own attribution studies, is going to be extremely valuable to progressive advertisers with large and meaningful 1PD sets.
 
Product
The pilot of shoppable ads in Australian Survivor will be one to watch for certain brands, particularly for fashion and CPG clients. It’s a delicate balance between adding value to the consumer experience and providing a disruption, but done well it opens up a world of opportunities for direct response activity.

In the space of the last eight days, it’s been a busy Upfront season. Sydney has been home to Upfront events for Seven, Paramount, oOh!media and next, Foxtel Media.

Foxtel Media is no stranger to having Upfront events in memorable places. For a few years, it rented iconic prestige properties in Sydney near the sea or the harbour. One of those was a Mosman house where a season of Australia’s Next Top Model was based.

Foxtel Media bumped in to the former shipyard space on Wednesday

It then got very ambitious. “One of our best ideas was Foxtel on Oxford,” recalled Foxtel Media chief executive Mark Frain this week. “We renovated a theatre on Oxford Street in Paddington. There was a bar in the lobby and we had two theatrettes to hold workshops, presentations and Upfronts. The vision was to use it for a couple of years, but then Covid came along.”

Flashback: Inside the Foxtel on Oxford theatre

Since Covid the theatre has been swallowed into the overhaul of that block of Oxford Street where a Japanese property developer is constructing a hotel.

Frain added: “It was a very exciting time to own our own theatre, but we never got to finish the plan.”Just last year, for the 2023 Foxtel Media Upfront, the venue was the recently redeveloped Sydney Football Stadium.

Foxtel Media’s 2023 Upfront action at Allianz Stadium

“We did that to coincide with the transformation and evolution of Foxtel. What is now called Allianz Stadium had gone through its own transformation and it was brand new.”

The only Stadium occupants prior to the 2023 Upfront were Harry Styles for a concert and one football match. “There was quite a bit of feedback from people who experienced FOMO when they couldn’t make it last year. It was spoken about a long time afterwards amongst agencies and marketers.”

Foxtel Media’s Mark Frain during a Wednesday site visit

Venue for 2024 Foxtel Media Upfront: Cockatoo Island / Wareamah

This year the television broadcaster and its streaming platforms are taking Upfront guests into the middle of Sydney Harbour.

Frain: “Our production company Alfred always come up with suggestions that are different. We actually considered Cockatoo Island several years ago. We didn’t go with it but never forgot about it.

Cockatoo Island media wall ready? Check

“It was the choice this year because we liked the idea of having a blank canvas in a different environment. It seemed like a great opportunity.”

Full coverage of the Foxtel Media Upfront and announcements in Mediaweek tomorrow.

Compiled by Tess Connery

What podcasts are Aussies searching for?

Google Search is a barometer for what the world is talking about, and at SXSW Sydney last week, a session by WPP’s Rose Herceg and Google’s Mel Silva got to the bottom of everything Australia has been searching. From “What is my IP?” to “How to cook rice”, one of the lists the pair analysed was Australia’s most searched podcasts.

The top ten list of Australian search terms overall from January to September 2023 were:

“True crime is a big trend, and Aussies disproportionately love a true crime podcast,” said Silva.

“I think The Teacher’s Pet also got a bit of that pent-up interest because it wasn’t available during the whole course of the case. It finally became available again this year after the verdict, so there’s a lot of catching up to do. But I love the fact that The Imperfects is up at number two.”

‘There’s Aussie content there as well,” added Herceg.

“We’ve got US content at number one, but there’s a lot of Australian content and that should make us really, really proud. The great trick of content, I think, is to keep Australia’s culture alive. We have our own unique tone of voice, of how we live Done Under. We have 270 nationalities, it’s an incredible country. I like seeing Aussies on the list and that we’re not just blown out by global content.”

[Read more from SXSW Sydney here]

LiSTNR cracks the case on UnTrue: an (Un)True Crime Podcast for Kids

LiSTNR is launching UnTRUE: an (un)true crime podcast for kids, produced using binaural recording and spatial audio design techniques, which ensures an immersive listening experience. The first series also launches with an Australian-first companion game on global metaverse platform, Roblox.

UnTRUE is an (un)true crime fiction podcast series that’s both a fun mystery for kids and a ‘true crime’ comedy for grown-ups. It launched on Tuesday, with new episodes each Wednesday.

The first season of UnTRUE: The Underdogs – Catch a Cat Burglar is adapted from the children’s graphic novel The Underdogs – Catch a Cat Burglar by Kate and Jol Temple and illustrated by Shiloh Gordon. 

“UnTRUE: The Underdogs – Catch a Cat Burglar is the first in a new (un)true crime fiction podcast series for families. Based on the kid-friendly crimes of the Australian junior fiction series, The Underdogs unpacks the baffling case of a cat burglar on the loose in Dogtown,” said co-author Jol Temple.

“LiSTNR have taken our graphic novel series and built an immersive world where families are right in the middle of Dogtown as the action unfolds. UnTRUE is pioneering the kids’ podcast genre in Australia using audio drama techniques and spatial sound design that provides families with an enhanced listening experience as they work together to solve the case.”

Over eight episodes, kids and parents will be drawn into the mystery, as investigated by true crime dogcaster, Trudie Poodle, and the second-best detective agency in Dogtown – The Underdogs. Each week Trudie and The Underdogs will sniff out clues as they come closer and closer to unmasking the felonious feline behind Dogtown’s unsolved crimes. Listeners will love guessing who the Cat Burglar is, not to mention the rollicking puns and colourful characters.

Parents will recognise some of the voices in the cast, including The Chaser’s Chris Taylor who voices Detective Barkley and fellow Chaser Andrew Hansen who voices four characters, and Zehra Naqvi from the Octonauts who voices Dr Spots and Rita Ringus.

[Listen to UnTRUE: The Underdogs – Catch a Cat Burglar here]

Author Dr Yumiko Kadota tells Yvie Jones about being a female surgeon

On the latest episode of Nova Podcast’s Two Girls One Pod, Yvie Jones was joined by Dr Yumiko Kadota to chat about how burn out changed her life.

Dr Yumiko Kadota worked in the hospital system for 12 years and has seen the toll that has on herself and her colleagues around her. She went through a period of burnout from her job which left her unable to control her bodily functions and hospitalised.

She shares her story, and speaks about how she turned that period of her life into a book which she now hopes other members of the medical community will learn from.

Speaking about leaving her job as a plastic surgeon, Kadota said that “I didn’t see anyone who did it, who people spoke well of. And that’s the problem. When people leave…they’re like, oh, they couldn’t handle it. Or they’re were never meant to be a doctor. Or people will say stuff because it’s so much easier to blame the individual than look at the potential systemic factors that might have driven them to leave. So I knew that I would be bad mouthed.

“If I were to leave people said, oh, yeah, she couldn’t handle it. She was weak. She couldn’t cope with the stress. I knew that. And people did say a lot of those things afterwards. And I knew they would. … I did the right things, I went through the right channels to try and say, look, I’m not able to cope with this workload, it was just way too much. And it takes a lot for anyone, especially a junior doctor to even say that. So for me to ask for help was a big deal. And then to not have anything addressed. I was just like, this is not gonna work.”

[Listen to Two Girls One Pod here]

Behind every great selfie is a great woman: Monash podcast examines influencer culture and feminism

Monash University’s podcast, What Happens Next?, has published a two-part exploration of influencer culture, parasocial relationships and feminised labour featuring notable content creators and academic experts.

The rise of influencer culture has taken over social media, television screens, and even the big screen. But what’s happening behind the selfie stick, and how does it relate to gender dynamics?

In these episodes hosted by academic and commentator Dr Susan Carland, listeners explore the not-so-shallow world of influencers, learning to challenge gender biases both online and offline.

Influencer culture is not just a hobby; it’s a billion-dollar industry primarily powered by women. Despite this, male influencers are paid approximately 30 per cent more than their female counterparts.

The podcast series features a lineup of influential guests, including Instagram influencer and content creator Olivia White, and veteran radio broadcaster and comedian Jo Stanley, a Monash alumna who is the co-founder and CEO of Broad Radio, an organisation promoting women’s representation in media. Dr Kate Fitch, a senior lecturer in Monash University’s School of Media, Film, and Journalism, adds her expertise as a leading scholar in feminised labour and public relations.

[Listen to What Happens Next? here]

Earlier this month, Val Morgan announced the integration of NEOs as a planning segment within cinema audience measurement platform CineTAM Live.

Social scientist Dr Ross Honeywill developed the NEO (New Economic Order) consumer typology as a way of classifying premium, high-spending consumers. Within Australia alone, there are 5 million NEOs.

Since its development in the early 2000s, the NEO consumer mindset – and its opposite, the Traditionals – has become a common value-creation asset to national and global brands.

Mediaweek sat down with Dr Honeywill to find out what makes NEOs tick, and the benefits of targeting them. 

According to Honeywill, the consumer economy is cleanly split into two groups – NEOs and Traditionals – and there is one group that stands out as the driving economic force. 

“The 5 million Australians with a NEO mindset are really driving the fast lane of the two-speed consumer economy, the slow lane is chugging along with 10.5 million Australians with the Traditional mindset – which is all about price, deals, features, functions, and status. 

“The Traditional mindset Australians spend less, but they don’t necessarily earn less or have less. There are millions of them that are affluent or have high net worth, they just don’t like spending. They might have big fat wallets, but what they’d like to do is sit on them, not open them.”

The new NEO segment within CineTAM Live gives brands the ability to reach high-spending cinemagoers, as well as the ability to fine-tune campaigns aimed at NEO audiences.

For brands looking to take advantage of the offering, Honeywill said that there is one important thing to remember above all else.

“The crucial thing is not to treat NEO as a target. The minute that agencies or clients are forcing an activation to be at the bottom of the funnel, it’s really the wrong place to start with – the place to start with NEOs is further up. 

“NEOs, at pure programmatic activation come out as good, if not better than, DV360 premium targeting. But it’s not the real advantage they can get by moving up the funnel, and having everything from the brand proposition through the customer journey right. If they can actually do that, and align their brand as a new brand with the NEO mindset, the activation goes through the roof. The difference is huge.”

It’s not bad news for the Traditionals of the world, as Honeywill said that he is “interested in the two mindsets equally.” 

“Because I’m a NEO, I tend to talk about the NEOs – but so many of our clients absolutely need Traditionals. They don’t need a lot of help with Traditionals, because they get that mindset.

“What we know about Traditionals can bring an evidence base to do things better. A tweaking can actually give them a higher margin, even out of the Traditionals.”

With the new generation of consumers making their mark on the economy, Honeywill said that Gen Z does have more NEOs, however “you have to be a certain age to earn enough, to spend enough.” Also, unlike other factors, Honeywill said that whether someone is a NEO or Traditional will not change as people age.

“NEOs are always going to skew younger. It’s not like a generation where that moves over time, they’re always going to skew younger and Traditionals are always going to skew older. It’s just the nature of the algorithm.

“If you’re a NEO now, you’ll be a NEO when you die.”

When it comes to targeting NEOs in cinema advertising, Honeywill said that he has one overarching message in regard to the power of the platform.

“The power of cinema is that people are so much more likely to be going to cinemas and noticing commercials that touch their spirit. That’s the crucial thing. Not just any commercial, but a commercial in which the value proposition, the content, and the message motivates them, creates consumption arousal in them, and touches their spirit. 

“Cinema has always been a sleeper channel for NEOs, and Val Morgan, to their credit, has recognised that and is taking these initiatives. I think it’s really wonderful to see.”

By Elizabeth McTaggart, head of marketing for the Asia-Pacific region at Udemy

In an industry as dynamic as marketing, keeping abreast of the latest trends and innovations has always been business-critical. In today’s world, it’s become even more crucial for marketers to upskill to stay relevant in the industry. Rapidly evolving technologies, cultural and generational changes, and altered work habits are driving the need to continue upskilling in marketing skills to keep up with global competition.

Marketing professionals in Australia are embracing online learning for flexible and effective upskilling, as research indicates skills are becoming obsolete every five years. We’re taking learning into our own hands, so it is imperative for organisations to incorporate online learning within our daily flow of work.

With the rapid changes in technology and the introduction of new tools, Australian businesses are focused on acquiring marketing skills related to generative AI, Google ads or adwords, technical writing, marketing analytics and business strategy. On the other hand, our marketplace data highlights individuals are also interested in social media marketing, SEO and affiliate marketing.

Technological changes 

Generative AI remains a sought-after skill across multiple industries with the growth extending into non-technical fields including marketing. One of the most popular Udemy courses on this topic for Australian organisations is focused on how to use ChatGPT and Generative AI to help create content.

More than ever, the marketing landscape is heavily reliant on data, analytics and a deeper customer understanding. AI-powered tools are now able to help marketers scale operations, save time, reduce costs, provide greater customer satisfaction, monitor data and gain insights.
 
With global companies setting the trend, Australian marketers are feeling the push to acquire or refresh skills. The Udemy’s Q2 Global Workplace Learning Index shows strong growth in topics including ChatGPT (386% increase globally in Q2 compared to Q1), Generative AI (278%) and Prompt Engineering (190%), with companies diving deeper into role-specific uses of generative AI to tap its transformative potential. The impact has been felt across the industry to optimise core tasks including copywriting support, idea generation to enhance visual presentations, increase traffic and sales, and large-scale email creation to improve the creation of personalised marketing emails.
 
History has shown that technological advancements impact how we work and typically add jobs in the market. We’ll see more automation and repetitive mundane tasks will soon be transferred to AI, which will leave marketers more free time spent on more strategic work. 

Cultural and Generational Changes

It’s no revelation corporate culture is changing at a faster rate than ever before. This cultural change is being driven by younger people, particularly with the rise of social media platforms. Millennials and Gen Z have a bigger appetite for digital learning and upskilling and generally, this demographic seeks continuous learning to stay ahead in the evolving digital landscape. For example, the rise of influencer marketing has been relatively recent and has now become imperative for marketing professionals to understand and stay abreast of government legislations around this. 

Beyond a broader generational shift, Australia itself has some unique needs when it comes to marketing. Aspects like diversity and sustainability are top of mind for the Australian population and marketers. Refreshing marketing skills consistently ensures professionals can acquire more customers effectively.

For marketers working across regions, there’s also the need to understand cultural nuances, traditions and sensitivities when creating marketing material. As the world becomes more globalised, these skills will need to be more developed.

Changing Work Habits

How we work has changed significantly in the last decade, particularly post-pandemic. A combination of environmental and technological changes has shifted how people want to work and how they do it; with the rise of global, digital nomads, and an increasingly permanent structure of hybrid work.

Remote working and increased flexibility has given weight to soft or professional skills that can help professionals enhance their communications and leadership abilities. Online courses on such in-demand professional skills are now helping professionals uplevel and grow in their careers.

Closing the skills gap can be achieved through empowering employees with upskilling opportunities that are curated, affordable and effective. Many global companies are taking steps to build more inclusive and diverse cultures to ensure individuals from all walks of life can thrive in today’s competitive environment.

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Top image: Elizabeth McTaggart

Are Media has announced it has joined Media Diversity Australia, a nationwide not-for-profit organisation founded by journalists and communication professionals to work towards a media landscape that looks and sounds like Australia.

Media Diversity Australia’s mission is to transform the Australian media landscape to represent the diversity of our nation authentically. It drives impactful change through evidence-based research, customised programs and strategic partnerships.

The organisation’s core values of collaboration, honesty, inclusion, action, and respect guide it as it works alongside individuals and organisations dedicated to positive transformation.

By setting the agenda, creating pathways and partnering for change, Media Diversity Australia empowers media professionals and advocates for a more inclusive and representative media industry.

The omnichannel content company joins a stellar list of companies that are members of the not-for-profit, including AAP, the Australian Broadcasting Corporation, Guardian Media Group, News Corporation Australia, Nine Entertainment Co, Paramount Australia & New Zealand, Private Media, SBS, Seven West Media, The Conversation and The Daily Aus.

Media Diversity Australia chief executive officer, Mariam Veiszadeh, said: “We are delighted to welcome Are Media as our newest member. Reflecting the depth and breadth of Australia’s diversity is incredibly important and we are so grateful that so many have partnered with us on our mission to work towards a more representative media landscape.”

Jane Huxley, Are Media chief executive officer, said: “Are Media is thrilled to be taking its place alongside other leading media organisations as a member of Media Diversity Australia.
 
“We recognise that having a plurality of voices as both narrators and storytellers amplifying the stories of Australian women is critical in ensuring we reflect the diversity of our audience. We look forward to working with Media Diversity Australia in the coming months to bring to life a number of initiatives to strengthen diversity within our organisation and in our publications.”
 
As part of the omnichannel content company’s charter to have a diverse, equitable and inclusive work culture, the partnership with the not-for-profit will see the company participate in an internship program with Western Sydney University, roundtables and events, as well as improving its recruitment pathways and conducting internal training seminars.

The Seven Network has welcomed the appointment of Marni Crutchley as head of brand and product marketing.

Crutchley will report to Larissa Ozard, Seven’s director marketing – brand, product and trade.

Crutchley has over 15 years of experience working with some of Australia’s most successful agencies and brands.

Most recently, she was senior strategy director at UM Australia, leading the strategy product for Optus and American Express. Prior to this, she led innovation and non-traditional media solutions as head of integrated planning at UM.

Marni’s previous roles include senior positions within the advocacy, influencer and word-of-mouth marketing company Contagious Agency, including managing partner, business director and senior account manager, in addition to key roles at Ignite Media Brands, MTV Network and Initiative.

In her new role at Seven, Marni is responsible for brand strategy and communication, partnerships and activations, as well as all product marketing, including 7plus, entertainment, 7NEWS and 7Sport.

Larissa said: “We’re delighted to have Marni join us at this exciting time as we elevate and enhance the Seven brand and redefine what it means for Australians. Marni’s strategic expertise and her passion for driving positive change align perfectly with our strategy to become the most connected news, sport and entertainment brand in Australia.”
 
Melissa Hopkins, Seven’s chief marketing and audience officer, said: “Marni is an incredible marketer and her wealth of external agency experience and unique perspectives significantly elevates our capabilities and takes Seven’s strong and dynamic marketing team to the next level.
 
“Marni joins Seven at an extremely exciting time as our digital acceleration continues at pace and our unparalleled reach connects with Australia’s largest and most diverse viewing audience. As the home of mass cultural moments, Seven will continue to bring Australians together by celebrating the big occasions and everyday moments across all screens that unites us.
 
Marni said: “Given my passion for brand growth through advocacy and innovation, I couldn’t be more excited to have landed at Seven at such an exciting time. Seven is one of Australia’s most loved brands and it’s an honour to join the team.”
 
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Top image: Marni Crutchley and Larissa Ozard

The new Travel Trend Forecast from News Corp Australia has revealed Australians are adjusting and adapting habits and plans to keep their travel dreams alive in 2024.

The biannual Consumer Travel Trend Forecast is an insight into the 13.5 million Australian travellers who engage with News Corp Australia’s brands every month.

The Trend Forecast uses the behavioural data from the News Travel Network audience, combined with primary research conducted by News Corp Australia with specialist research partners to uncover a holistic view of what’s guiding Australians’ needs, wants and choices, and how these factors are influencing their relationship with travel. This is overlaid with global and domestic research and the insights of the company’s senior travel editors to predict the key consumer travel trends that will shape the next six months.

The research identified four shared cultural themes that underpin Australian’s travel decision-making.

• Escapism: Renewed delight at escaping the everyday, and getting out of the cycle of never-ending ‘blursdays’.
• Shared experience: Following social starvation across the pandemic, people are much more sensitive, emotionally and cognitively, to social interaction. A phenomenon called ‘social facilitation’.
• Micro-moments: Big things can come in small packages. Consumers are more conscious of ‘little luxuries’, and have a renewed ability to savour the small things.
• Being well: The mental model of wellness has meaningfully expanded. As has the level of importance placed on peoples’ wellbeing and their community’s wellbeing.

Managing director, food, health and travel Fiona Nilsson said: “With so much happening in the travel industry, we wanted to take stock of all the developments happening with travellers and look at how these shifts will impact our holiday plans, and importantly, what this means for travel clients to make their brand stand out in 2024 and beyond.”

News Corp Australia travel industry experts including Dan Krigstein, director of the Growth D_Stillery; Kerrie McCallum, editorial director – premium food, health and travel; Elizabeth Glover, general manager, travel industry, product and partnerships; and John Hannan, digital director, Escape, delicious. and Body+Soul, presented the consumer trends.

Key consumer trends identified:

The Swift Era

This trend is all about swift travel – shorter, more frequent trips, closer to home and often booked spontaneously. Despite the economic downturn, people are still committed to holidaying, but some are adjusting the tempo of their trips. The key takeaways for this audience is that they’re more likely to be travelling domestically. 84% of this audience are cutting back the length of their holidays, looking for a sightseeing, city or beach holiday.

Secret Travel Agents and Travel Secret Agents

A significant number of today’s travellers know exactly what they want when it comes to planning and booking their next holiday. The difference now is that these ‘professional amateurs’ are using AI tools when it comes to research and planning. When it comes to communicating with these travellers, brands need to connect with them through humour, charm, individuality, fun, and all the emotions that come from first-hand experiences of a destination. These secret travel agents are more likely to be females who have been impacted by cost of living pressures. They want safety, value and the opportunity to recharge with their family on short trips.

On The Road Again

While road tripping is not a new trend, it continues its reign and shows no signs of stopping. Despite having a significant period of time when it was the only way to travel, people still love packing up the car and driving to their next holiday destination. This trend has maintained its popularity for a number of reasons – flight prices and the value of the Australian dollar overseas are still a deterrent for many who’d rather control costs by driving themselves and making the most of more affordable and free local attractions along the way. These travellers have been impacted slightly more than everyday travellers by cost of living and are really looking to have an outdoor getaway.

Travel Maths

The travel maths mindset involves the splurge and save habits people apply when planning and paying for a holiday. Research identifies that 30 per cent of travellers are relying on loyalty points for flights and accommodation. Consumers are fans of bundling accommodation or meal offers when booking flights, offering a way of containing and easily managing their costs. The travel maths audience is more likely to be planning an overseas trip, and unsurprisingly looking for value while enjoying a fabulous resort or beach holiday

From Market to Michelin

Drinking and dining is the main priority for many travellers but as people are watching their wallets, they are more mindful of coming up with economical ways of eating on holiday. Dinner at a famous restaurant with a three-month waiting list may be one of the most talked about moments of a trip, but it’s not the only one. People are just as excited about the famous convenience store egg sandwich in Tokyo or finding the best hawker stand in Singapore. The market to Michelin trend has been going on for years, however living cost pressures combined with adventurous spirits has put the spotlight on it now. This audience is cutting back on food experiences, while still trying to see the sites.

See Also: News.com.au holds top spots in digital news according to latest Ipsos iris report

PEDESTRIAN TELEVISION is a mix of content, both created or curated, by Pedestrian Group.

Licensing deals with Sony Pictures, Australian Independent Record labels (AIR), OUTtv, Eternal Family, Robot Army and others have carefully selected an eclectic mix of comedy, reality, music, movies and weird web stuff that unearths both new and neo-nostalgic hits. 

PEDESTRIAN TELEVISION’s unique programming base will be layered with original news and culture content from Pedestrian Group’s brands, particularly PEDESTRIAN.TV, VICE, Refinery29 and The Chainsaw, as well as a collaboration with The Betoota Advocate. 

Matt Rowley, CEO of Pedestrian Group, said: “The obvious opportunity is that there’s no TV or streaming service out there dedicated solely to 18-35-year-old Australians. What’s even more exciting is the way PEDESTRIAN TELEVISION will be rewriting the rule book to create chaotic good TV. Our unique programming will combine the pace and energy of social media, with the curated voice of a TV channel to end streaming decision paralysis for young Aussies.”

James McManus, executive creative director at Pedestrian Group, said: “This channel will plug young Aussies into what’s going on like no other. We’ll be converging our trusted brand voices in one place to tell the news, give gig guides and hit the streets for opinion in untraditional, lo-fi, fast formats – meaning any viewer can keep up to speed by tuning in for just a few hours a week. Importantly we’ll also lean heavily into supporting fresh Aussie music, showcasing the diverse talent our country has to offer.”

Streamed via 9Now on connected TV, app and web, PEDESTRIAN TELEVISION is free and ad supported. The ad load is dramatically lighter to give curated brand partners the ultimate cut through with the channel’s sought after audience.
 
Rachel Tikey, Pedestrian Group’s chief commercial officer, said: “PEDESTRIAN TELEVISION is a game changer in the art of connecting brands with young Aussies, enabling our clients to harness Pedestrian Group’s renowned native content expertise, now in television format.”
 
“Married with further integrations across our famous websites, events and engaged social presences, we have a truly unique offering in market and one sold only by the Pedestrian Group partnerships team. We’re already having the time of our life creating killer market firsts with our clients including our launch partner BWS.”

JCDecaux has shown its support for Nedd’s Milk and its founder Nedd Brockmann, helping take him from a makeshift billboard to digital large format signs across Sydney in just 48 hours after his outback campaign was spotted by the out-of-home media company.

Nedd’s Milk is a chocolate milk startup that aims to raise $10 million for homeless charity Mobilise by donating for every bottle sold. It is the latest initiative from founder Brockmann, who made headlines in 2022 after running 4,000 km across Australia, from Perth’s Cottesloe Beach to Sydney’s Bondi Beach, whilst raising millions of dollars for the homeless.

With all the funding invested in making the product, Nedd couldn’t afford an expensive marketing campaign. Instead, he constructed his own sign on the side of the road in the Nullarbor, South Australia as part of a Milk Run, which sees him driving a milk van from Perth to Bondi, recreating his famous run.

Brockmann said: “I was left to my own devices to think up something creative that’ll get people around my choccy milk. We can’t afford a Punt Road sign in Melbourne or the Kings Cross billboard, so we opted for the next best thing. The Nullarbor sign took me nearly a day to pull together and a fair bit of retrofitting, but we got the job done.

A photo of Nedd’s makeshift banner on social media caught the eye of Charlie Newton, group business director at JCDecaux Australia, who was impressed by the startup’s social aims.

Newton said: “We admired Nedd’s determination to get his brand out there and wanted to support the cause. Within 48 hours, Nedd has gone from his makeshift billboard to some of the best Digital Large Format sites in Sydney. Digital Large Format delivers those head-turning moments that command attention, putting the spotlight onto this important cause.

“As an outdoor media company committed to creating positive social impact in the places where our signs are found, the plight of the homeless is very relevant to JCDecaux, and by supporting Nedd’s Milk we can help raise vital awareness and funds.”

Brockmann hopes the publicity boost via JCDecaux will help get Nedd’s Milk stocked in stores across Australia, enabling consumers to not only enjoy a delicious chocolate milk but also give back.

“This milk is much larger than me. I of course want everyone to love the taste and the benefits of the milk, however the give back element is a huge factor in the decision of making this product,” he said.

“Every bottle gives back to those experiencing homelessness and the more people that see our message, the closer we’ll get to our $10 million goal! Big thanks to the bloody legends at JCDecaux for getting behind it – how good do they look!” Brockmann added.

• 1.2 million tune in to The Block in Total TV, up 42%
• Bec Judd and Kate Twigley eliminated from The Amazing Race

Total TV Ratings, October 18

1,288,000 watched Nine’s The Block where there was more angst about budgets and how some seemed to have more than others, up 42%.

914,000 viewed Seven’s Home and Away where Xander pressed Mali and Rose and Xander confided in Mali and Mackenzie, up 26%.

737,000 saw ABC’s Hard Quiz, up 17%.

702,000 tuned into 10’s The Amazing Race Australia. After a 12-hour flight delay, the celebrity contestants were faced with a detour, up 49%.

Overnight TV Ratings, October 25

Primetime News
Seven News 744,000 (6:00pm) / 724,000 (6:30pm)
Nine News 702,000 (6:00pm) / 694,000 (6:30pm)
ABC News 538,000
10 News First 189,000 (5:00pm)/ 143,000 (6:00pm)
SBS World News 128,000 (6:30pm)/ 101,000 (7:00pm)

Daily Current Affairs
A Current Affair 563,000
7.30 421,000
The Project 172,000 6:30pm / 252,000 7pm

Breakfast TV
Sunrise 215,000
Today 168,000
News Breakfast 142,000

Nine won Wednesday night with a primary share of 25.7% and a network share of 35.9%. 9Gem has won multi channels with a 5% share.

Meanwhile, Seven received a primary share of 14.9% and a network share of 23.5% while Ten took a 9.2% primary share and a network share of 15.0%.

Nine

Nine’s A Current Affair (563,000) looked at a community ‘street market’ based in Kingston, Logan, south of Brisbane that helps the less fortunate. However, founder Angela Leo has now received a notice from Logan City Council declaring the community initiative a “nuisance”. 

Next up, it was time for The Block. While Tuesday’s figures saw 650,000 tune in, on Wednesday, 611,000 watched on. During the episode, it was three days until the front garden and facade week reveal, as well as the rest of the insides of the house and Leah and Ash were devastated by the loss of their dog Ollie. While the other Blockheads consoled the married couple, Lesley and Kylie did not, causing an even bigger rift between them. Meanwhile, Scott Cam and Shelley Craft conducted their final walk-around for the year and were very impressed with all the work the teams on Charming St had put in. 

Then, 356,000 watched the first innings between Australia and Netherlands in the ICC Cricket World Cup while 336,000 caught the Innings Break. At the end of the match, our home team secured their third successive World Cup game, defeating the Dutch by 309 runs. During the game, Glenn Maxwell (pictured) smashed the fastest hundred in the history of the 50-over World Cup.

Seven

398,000 began their evening in Summer Bay with Seven’s Home and Away as Felicity faced the consequences of her actions while Tane closed a door and Irene prepared to hear her fate. Viewership was up/down from Tuesday’s 410,000.

Then, 283,000 stayed on for Dogs Behaving (Very) Badly. During the episode, Liane bought Woody the Boxer to mend her son’s broken heart after their beloved Boxer Beau had passed away, but it soon spelled disaster! 

Following this, it was time for A Year on Planet Earth. 178,000 tuned in to see the great melt begin and new life erupts during Spring; however, life in the Southern Hemisphere gets rough with worsening conditions as the animals prepared for shorter days. 

ABC

421,000 watched ABC’s 7.30 speak to Lismore residents who say its flood buyback scheme is mired in delays and confusion. Sarah Ferguson also interviewed Lynn Hastings and the program also looked at how the Australian government announced extra troops deployed to the Middle East.

421,000 then watched Hard Quiz with Tom Gleeson. Challengers were quizzed on knowledge of Jurassic Park, Elvis, Ex-PM Gough Whitlam and the not-very-successful basketball team, the Charlotte Hornets. Question Everything followed for 319,000 before 213,000 watched a repeat of Would I Lie to You? UK.

10

On 10, The Project (172,000 6:30pm / 252,000 7pm) looked at how Passengers from the infamous Ruby Princess cruise, which led to a major COVID-19 outbreak, have won their class action lawsuit after the Federal Court found operator Carnival to be negligent. 

While last week, 353,000 viewers tuned in, this week, 325,000 watched The Amazing Race Australia. During Wednesday’s episode, the celebrities were led on a spiritual journey to Angkor Wat, Cambodia — one of the world’s largest religious structures — where one team’s fighting spirit was tested by learning local martial arts. At the end of the race,  Darren McMullen and nephew Tristan were the first to arrive while Bec Judd and Kate Twigley’s decision to take a time penalty when faced with eating fried tarantulas resulted in their elimination.

Heat then followed for 117,000. Fuelled by anger after Sarah confessed her affair, Steve confronted Brad as the fire moved at a deadly pace toward the house. 

SBS

The highest rating non-news show on SBS was Putin’s Crisis with 123,000 tuning in to see Frontline examine how the Russian leader, Vladimir Putin, reached this moment of crisis. Veteran filmmaker Michael Kirk and his team examined the story of Putin’s rise, his clashes at home and abroad, and how his troubled Ukraine war led to the greatest threat yet to his grip on power.