Former Sunrise reporter Nathan Templeton has passed away, following a medical episode on Monday while walking his dog in Geelong.

The 44-year-old was found near Barwon River, in the suburb of Newtown, according to the Herald Sun. 

Nathan Templeton

Lewis Martin, managing director of Seven Melbourne and network head of sport, said in a statement: “The tragic news of Nathan’s passing has left us all at Seven profoundly saddened. 

“Nathan was a respected journalist whose passion for storytelling was evident in all his years reporting for Sunrise, 7NEWS and multiple Olympic Games. 

“Our deepest condolences go out to his family, especially his two young sons, during this difficult time.”

Speaking to The Australian, a Victoria police spokeswoman said: “Police will prepare a report for the coroner following the death of a 44-year-old Newtown man on Tuesday 9 April.

“Emergency services were called to a park in Newtown about 2.30pm where the man was located deceased.

“The death is not being treated as suspicious at this stage.”

In 2012, Templeton joined the 7NEWS Melbourne team as a sports reporter before his 2016 move to the role of Melbourne correspondent for Sunrise. 

He also regularly worked on Weekend Sunrise as a sports presenter, and was part of Seven’s coverage of the 2016 Olympic Games in Rio de Janeiro, and the 2020 Olympic Games in Tokyo.

Prior to working at Seven, Templeton worked on 10 News First in the Melbourne newsroom as a sports reporter.

Paying tribute to Templeton, sports commentator Perth Mayor Basil Zempilas described him as “happy, so reliable, incredibly hard working and just so good to have on the team. He was team first. Always.”

Stephen Quartermain, Network 10 Melbourne sports presenter said it was “Hard to comprehend Nathan Templeton is gone.

“So young, vibrant, talented and cheeky. That’s how I’ll remember him.”

Former Sydney Swans player Jude Bolton added: “Saddened to hear the sudden passing of Nathan Templeton. Thoughts go out to all the family, to the Seven crew and his close friends”.

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Top Image: Nathan Templeton

Ogilvy Network Australia New Zealand has confirmed Fran Clayton will be joining the creative network as chief strategy officer in July, after Mediaweek broke the news last Thursday.

Clayton, who joins the agency after almost 10 years at DDB Sydney, called the role a “dream”: “This is a strategy leader’s dream; an agency with a culture of creative effectiveness, an incredible line up of talent and a roster of clients that includes some of the world’s best marketers.

“But the thing that excites me most is the ambition of Ogilvy ANZ’s leadership. I’m thrilled to be joining Sally and Toby and can’t wait to get stuck in with the teams across Australia and New Zealand.”

Ogilvy Network ANZ CEO Sally Kissane added: “We’re thrilled to have Fran join the team to lead our already strong strategy team across both our Australian and New Zealand offices.

“Not only is she incredible at what she does, she is an exceptional leader, and a wonderful human. We can’t wait for her to get started.”

Clayton brings over 23 years of experience to the role, including senior positions at McCann, Publicis Mojo, and Saatchi & Saatchi, in addition to DDB. She also serves on the Board of Directors for the Advertising Council of Australia.

The role will be based in Sydney, working closely with the strategy teams across all local Ogilvy offices, including New Zealand. Clayton will work alongside CCO Toby Talbot, and Toby Harrison, who was recently named the agency’s consulting, growth, and innovation lead.

See also: Toby Harrison and Dan Krigstein: Drinking from the fountain of youth…fulness

“I’m really looking forward to working with Fran again. I have watched her become this incredible figurehead in Australian marketing and advertising in the intervening years,” Talbot said.

“DDB invented planning. Fran has the smarts to take what’s she learned there and reinvent it. I cannot wait to partner with her in this new role. Happy days.”

Last week, DDB Group Sydney CEO Sheryl Marjoram said of Clayton’s move: “We could not be more thrilled for Fran in this new, larger role at Ogilvy … She did a brilliant job at DDB and we’re incredibly proud.

“We have begun the recruitment process for our new chief strategy officer, so stay tuned.”

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Top Image (L-R): Sally Kissane and Fran Clayton

While new seasons of long-running programs regularly add events or new challenges to spice up the format, Seven’s Farmer Wants A Wife’s biggest success is that it stays true to its roots, according to executive producer, Ewa Dobrowolska. 

“Obviously, you need to still throw some surprises into the mix to keep it fresh and fun, but the format doesn’t deviate too much year on year, and that’s a big part of Farmer’s success,” she told Mediaweek.

“Largely we try to stick to the format and try not to trick it up too much.”

Now in its 14th season, Dobrowolska states that she thinks viewers keep coming back to the programme because of its authenticity.

“The focus for the ladies and the farmers is finding love, not followers, and I think that’s the big difference that sets our show apart,” she said.

“The farmers aren’t perfectly polished, sometimes they’re lost for words or they don’t always know the right thing to say, but that’s what resonates with the audience.

“They’re real, they’ve got heart, they’ve got humour and humility which is a great combination to have.”

Premiering at 7 pm on 14 April, this year’s farmers include Farmer Bert, 30, from Wamuran, Queensland; Farmer Joe, 33, from Bombala, NSW; Farmer Dustin, 26, from Condobolin, New South Wales; Farmer Dean, 25, from Kandanga, Queensland and Farmer Tom, 22, from Tabilk, Victoria.

Returning host Samantha Armytage and co-host Natalie Gruzlewski play Cupid once again as they guide the new crop of farmers on their journey to find love, as well as reunite with favourite past farmers. 

Similar to the contents of the show, Seven isn’t changing things up when it comes to its target demographic. 

“The beauty of Farmer is that it has such a wide-ranging audience,” Dobrowolska said. 

“While the show is skewed female, we’ve got young, old, city, metro, country; it has a really wide audience that not many shows can say that they do have, and we want to maintain that audience through authentic television.”

While Dobrowolska couldn’t reveal any of the surprises in store for the new season, she did tease that one farmer on the show is pretty popular.

“Farmer Bert is one of the most sought-after farmers we’ve ever had in the history of the show,” she said.

“Firstly, he’s our first-ever pineapple farmer, but secondly, he’s had the most number of applications for a single farmer out of all the seasons. To put that into context, the amount of women who applied to date Bert was more than the total number of applications that all of last year’s farmers combined got.”

The main sponsors for this season of Farmer Wants A Wife are ISUZU, Kellogg’s, Aldi, Gourmet Garden and Lotto. Farmer Wants A Wife is produced by Eureka Productions for the Seven Network. 

Zenith has emerged as the top media agency in Australia for 2023, per the latest study, Final 2023 Australia New Business Barometer, released by marcom research company COMvergence.

The report highlighted the Publicis-owned agency‘s significant new business value of over $108 million, securing the lead among 40 agencies surveyed. This success was attributed to Zenith’s acquisition of 15 new clients, including Adobe, Superloop, and RACQ, along with the retention of Disney Studios.

Publicis’ Starcom secured second position, credited to retaining all clients who reviewed their media accounts in 2023, including Metcash, Subaru, and Bega.

See also:
Superloop the challenger internet provider appoints Zenith Australia to media account
Starcom and Sloane Media team up with Subaru for a new season of Great Australian Detour

COMvergence final 2023 total new business ranking (incl. retention) – media agency networks

Zenith also claimed the top spot in net new business results (excluding retentions), with $83 million in new client wins.

See also: Zenith drives away with Autosports Group media account

At a group level, The Final 2023 Total New Business Ranking for media agency networks saw Publicis Media leading the pack, accumulating new client billings totalling over $157 million across 29 new clients.

GroupM claimed second position, primarily due to retaining key clients such as Mitsubishi and Uber. Mediabrands clinched the third rank with 20 new client wins totalling $81 million.

COMvergence final 2023 global new business ranking – media agency groups

Throughout 2023, COMvergence assessed 202 media account moves throughout and retentions involving 178 advertisers, totalling $895 million, marking a 10% increase compared to 2022.

The 20 largest reviews in Australia for the same period resulted in a combined billing of $450 million, including Adobe with $36 million, TPG Telecom with $34 million, and Uber with $33 million.

COMvergence top media pitches and movers concluded in 2023

See also:
OMD takes the top spot in 2023 COMvergence global new business barometer
COMvergence: Zenith, Wavemaker and Atomic 212 top new business rankings for Australian media agencies in H1 2023

Nick Thomas, EssenceMediacom’s chief investment officer, has left the agency after over a decade at GroupM. His next role will be national head of sales ANZ at Amazon Ads.

“After 12 epic years at EssenceMediacom Australia and GroupM Australia and New Zealand, last week marked the end of my journey,” Thomas wrote on social media about his departure. 

“I’ve loved every minute and have too many people to thank for making my time there special. To all of you, I want to express my deepest gratitude. Your support, encouragement, and camaraderie made it truly unforgettable.”

In his last three years as CIO, Thomas had been managing 240 people and almost $1 billion in billings. In his move to Amazon, he’ll be joining his former GroupM colleague, Willie Pang, who made the move to general manager of Amazon Ads in August last year.

“Nick has been part of the EssenceMediacom and GroupM family for close to 12 years, rising rapidly through the ranks from trading director to lead our Media Solutions and Investment function,” said Pippa Berlocher, EssenceMediacom’s CEO.

“Since I joined the business, Nick has been a phenomenal support to me, and I’ve been awed by his energy, passion and commitment to our Breakthrough journey. He has helped build an implementational planning and investment team across EssenceMediacom’s agencies in Sydney, Melbourne and Brisbane, and a culture of strong partnership and collaboration within GroupM. 

“His energy and leadership will be missed, but we’re excited for his new adventure and look forward to partnering with him in his new role.”

In February, EssenceMediacom Australia formed a dedicated specialist data, technology and analytics division, leading the charge in providing client consultation and business solutions.

The division works with clients to develop tangible maturity roadmaps and enablement programs that integrate data, technology and analytics into clients’ brand marketing from planning through to activation.

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Top Image: Nick Thomas

The April issue of Vogue Australia magazine offers newsstand readers the choice of three different collector covers, in a move that will see many buying multiple copies of the instant collectible.

The images on the three covers were taken by famed German fashion photographer Juergen Teller.

Juergen Teller, Angelina Kendall, and Paris

Edwina McCann, editorial director and publisher News Prestige and Conde Nast titles Australia, explained to Mediaweek that Teller shot the images at the Australian Embassy in Paris. His choice of camera was an iPhone and the covers feature Angelina Kendall.

McCann noted Teller often shoots on the iPhone, calling him “the most exhibited fashion photographer in the world.”

She added: “We had a great opportunity to shoot with Juergen and Vogue Australia editor-in-chief Christine Centenera was originally talking with him pre-Covid about potentially coming out to Australia. She has developed a great relationship with him.

“In his unique style, Juergen doesn’t retouch his images. He was interested in shooting at the Australian Embassy in Paris. That’s a location where we have been hosted during Fashion Weeks in Paris. It boasts one of the best views in Paris over the Eiffel Tower.

“It’s wonderful to be able to show off the Embassy in Paris. People can see how incredible it is ahead of the Olympics.

“Shooting Angelina Kendall, the hottest thing on international runways, has given the April edition another Australian hook. She’s a Sydney girl and getting her in that location was just perfect.”

Edwina McCann

This is the first time Teller has photographed for Vogue Australia. McCann noted he has worked for other international editions of the magazine. “He wanted to work with Angelina. That alone gives you an idea of how she is taking the modelling world by storm.

“She walked at a lot of fashion shows this season including Saint Laurent and Chanel. She is being very well managed and will have a very successful career.”

Creating a collectible

As McCann explained, all the ingredients were in place to create a magazine collectible. “We know that when you shoot with someone like Juergen, the edition becomes very collectible. For fans of both and also fashion photography it is a special item. He photographed Angelina in Dior, Fendi, and Chanel on the covers. All haute couture and in different situations.

“The different covers are available through newsagents and some subscribers will go to retailers to buy other covers.”

Newsstand remains important piece of business puzzle

McCann indicates over-the-counter sales remain important to magazine publishers.

“We recently reported phenomenal growth, about 30% up year-on-year,” said McCann. She was referring to Roy Morgan data for 2023 released earlier in 2024 that saw Vogue Australia magazine readership climb to just under 500,000.

“We are finding there is now a nostalgia for print. Many titles are making a comeback in print.”

See also: Gen Z becomes biggest reader demographic of Vogue Australia

McCann likened a collectible magazine to merchandise. “Something that people might buy at a Taylor Swift concert. Brands like Vogue have super fans. Keen followers of fashion who want to own their own piece of Vogue history. I noticed recently that a Billie Eilish cover of Vogue Australia was on eBay for $120. It was the first Vogue cover Billie Eilish had done.”

Digital audiences continue to grow for the brand across a range of social platforms and vogue.com.au. They contribute to a diversified revenue stream, partly via brand partnerships.

“We are doing more what we call Met Gala Partnerships. We worked with Mercedes Benz for example at the F1 in Melbourne recently. Co-creating and amplifying an extraordinary event that hosted their drivers Lewis Hamilton and George Russell. They connected with some of Mercedes Benz’s best customers but also friends of Vogue.

“We were also at the AACTAs working with Paco Rabanne. We can help ensure broad audiences engage with those events on numerous social media channels and digital channels.

“When we shoot a cover, we look at it as a special event. As though we are creating our own tentpole occasion.”

When looking at the magazine’s circulation financials, it is mixed evenly between newsagents, supermarkets, and subscribers in terms of revenue, explained McCann.

Luxury advertisers loving print

“The ad market for the print product has been relatively buoyant in luxury. That has something to do with a loyalty factor. Luxury clients do like to retain their positions in the book each month. They like the thick stock we can offer to really make their print execution stand out.

“Clients understand the magazine has a shelf life well beyond a day or maybe just a second when someone might scroll past an ad on socials. Luxury products operating in the Australian market all come into Vogue Australia. We are lucky in that we have benefited from the growth of the luxury sector across the country.

“Van Cleef & Arpels has opened in Perth and they are still expanding their footprint here. With that goes a healthy amount of marketing including Vogue Australia.”

The Vogue Australia March edition ran to around 250 pages with a busy front of the book with familiar brands like Chanel, Louis Vuitton, Dior, Cartier and more. “Many of the brands run multiple campaigns for different products like fragrances, leather goods, or sunglasses in addition to ready-to-wear and couture.”

Team Vogue Australia

Having the right people steering the brand has obviously paid dividends for Conde Nast in Australia. Published under licence by News Corp Australia, McCann and Centenera know their way around Vogue.

Centenera has been with the brand since 2012. She was appointed editor-in-chief just over 12 months ago, being promoted from fashion director of Vogue Australia.

“There has certainly been a refresh of the print product,” said McCann. “That has been led by Christine’s aesthetic. Her global influence and contacts certainly benefit the brand and keep Vogue Australia top of mind internationally.

“Often the talent we want to shoot will not be in Australia. The fact that Christine is based in London does help her to style covers. I have been working with Christine for 15 years.

“The business is now so much bigger than just the magazine. The day-to-day management is also shared between myself and Francesca Wallace driving our digital assets.”

McCann noted that Centenera’s schedule moves around depending on where her partner Joel Edgerton is currently working. “We totally understand that they have small children and they want to be together.”

As a solution to housing undersupply in Australia, Prime Video is launching ‘Vault 33’, located under the foundations of Sydney’s CBD, as it launches Amazon Original Series Fallout today. 

Presented by real estate agency Gavin Rubinstein of TRG, best known for his role on Luxe Listings Sydney, ‘Vault 33’ is inspired by the vault of the same name that features in Fallout, the newest original series from Prime Video.

Inspired by the popular video game franchise and set within the Fallout universe, the series follows the world 200 years after the apocalypse. Gentle denizens of luxury fallout shelters are forced to return to the hellscape their ancestors left behind – and are shocked to discover a complex, weird, and violent universe waiting for them.

The series stars Ella Purnell as Lucy, an optimistic Vault-dweller with an all-American can-do spirit; Aaron Moten as Maximus, a young soldier who rises to the rank of squire in the militaristic faction called the Brotherhood of Steel; and Walton Goggins as The Ghoul, a morally ambiguous bounty hunter who holds with him a 200-year history of the post-nuclear world. 

While the Vault is a fictional property and not available for purchase or rent, it leverages the abundance of abandoned Sydney tunnels and underground floors that already exist. The Vault is built from premium materials including reinforced sandstone and solid metal sheeting to ensure durability. 

Rubinstein said: “Welcome home. This is the future of living in Australia – ‘Vault 33.’ After touring these intimate living and dining spaces, you’ll wonder why you ever wanted to live above ground. In a property market defined by scarcity, ‘Vault 33’ presents the perfect, long-term and sustainable solution.”

The property will be open for inspection by the public from 12pm to 5pm on Thursday 11 April 2024. Inspection bookings can be made here.

JCDecaux has launched a broadcast-scale 3D format across its Sydney and Perth networks.

JC3D will be available on over 450 screens and multiple formats nationally.

Max Eburne, chief commercial officer of JCDecaux, said its clients have been wanting a 3D solution that offers more than a one-off stunt.

“With the activation of our broadcast-scale 3D across more than 450 screens spanning our national rail network and Sydney and Perth Airports, JCDecaux is establishing a new era of immersive advertising experiences.”

The JC3D launch coincides with the start of season two of Alone Australia, which began at the end of March. SBS used the opportunity to engage audiences through JC3D as part of its marketing campaign. The pair said that using 3D as part of the broader campaign meant SBS could bring the drama of the new season to life.

Jane Palfreyman, chief marketing and commercial officer at SBS, said the partnership with JCDecaux and media agency Hearts & Science created not just an ad, but an experience.

“It’s an experience that captures the audiences, leaving a lasting impression – just as Alone Australia does. The JCDecaux team developed the final 3D creative for us, conveying the thrill of Alone Australia in a visually compelling and narrative-driven way, which connects audiences to the raw experience of the Alone contestants braving the elements on their own in their bid to survive the longest.”

Lama Perin, group manager creative and digital solutions at JCDecaux, said the JC3D offering provides true broadcast reach, ensuring brand messages can reach audiences nationwide.

“JC3D uses forced perspective – an optical illusion technique that creates a 3D effect using framing and shadows. Unlike anamorphic or augmented reality 3D, our approach ensures that viewers can experience the 3D effect from multiple angles, not limited to specific vantage points.”

SBS’s media agency Hearts & Science booked the outdoor campaign. Georgia Leathart, head of strategy at Hearts & Science, said that using outdoor 3D creative to showcase New Zealand’s wildlife was intentional. JCDecaux noted that airports and rail stations are ideal locations for 3D, where higher dwell times allow for extended engagement.

“This allowed us to communicate effectively to audiences the change of location and scenery for this year’s season,” said Leathart.

Alone Australia season 2 launched on 28 March with episode 1 reaching 812,000 Australians. SBS’s 3D Out-of-Home campaign is complemented by Transit, Small Format, and Large Format billboards across the eastern seaboard.

Mediaweek’s next round of Sales Team of the Year entries are now open. The awards are an initiative to highlight some of the high-quality work done in the industry. 

Each month, a media sales team will be selected by a rotating panel of judges, culminating in a set of nominees at the end of 12 months. The judges will be assess each team on criteria such as proactivity, strategy and execution, and client and agency relationship management.

See Also: Mediaweek’s Sales Team of the Year: February spotlights Man of Many

The nominees will then all go into the running to win the overall title. 

The form to nominate a team can be found here.

This month’s judges are:

Nick Hunter – CEO, Paper Moose
Victoria Budge – Managing Partner, Claxon Sydney
Anthony Fargeot – VP of Growth, Bench Media

Nick Hunter, Victoria Budge, Anthony Fargeot

Key Dates for April:

Entries open: Thursday, 11 April 
Entries close: Tuesday, 30 April
Winner Announced: Monday, 27 May

In an effort to address the dwindling giant kelp forests in Tasmania, a new campaign by creative agency Emotive sheds light on the work between Google AI and a trove of local partners: CSIRO, Institute for Marine and Antarctic Studies, The Nature Conservancy, Great Southern Reef Foundation, Kelp Forest Alliance, and NGIS.

This latest drive for Google AI aims to raise awareness about the critical state of Tasmania’s giant kelp forests, of which only 5% remain, while showcasing the innovative use of Google AI technology in conservation efforts.

Using Google AI speeds up the analysis of large datasets required to decode the DNA of heat-resistant kelp, and helps map the remaining forests to aid restoration efforts.

Zoe Hayes, head of brand, social and YouTube marketing AUNZ at Google, said the collaboration between the involved parties for the Tasmanian giant kelp forest conservation efforts is part of Google Australia’s Digital Future Initiative: a $1 billion investment in Australian research, infrastructure and partnerships.

“A huge focus of the initiative is fostering Australian made technology and talent to address some of the world’s most pressing problems,” said Hayes.

“Our hope is that this groundbreaking work will have an impact not just here in Australia, but globally.”

The campaign, The Invisible Forest, hopes to bring attention to a complex and largely imperceptible issue by using a two-pronged approach.

The first involves engaging content in collaboration with animator and TikTok sensation Sam Cotton, known for his cheeky, animated take on Australian wildlife.

“I love our country and its wildlife, yeah even those chippy stealing seagulls, so when Google invited me to help shine a light on the story of the disappearing giant kelp habitats, and how they’re helping restore them, I was thrilled to be involved,” Cotton said.

Paul Sharp, creative director at Emotive, described the importance of engaging Cotton as part of making the intricate science behind the project accessible and palatable for broader audiences.

“Google’s AI-driven giant kelp restoration collaboration is as big and complicated as those words together sound,” said Sharp.

“It’s a super-important and very involved project that we needed to simplify in order to share with broader non-science audiences, and Sam’s (Cotton) popular bitesize takes on wildlife create a perfect portal to get people intrigued.”

The second aspect of the campaign is a micro-documentary featuring experts from the Institute for Marine and Antarctic Studies, CSIRO, and Google Research Australia, explaining the role of Google AI in mapping and monitoring Australia’s giant kelp forests.

The doco, which has been released as part of a national campaign rollout across YouTube, LinkedIn, and TikTok, elaborates on how Google AI will help make the first map of Australia’s giant kelp forests and analyse heat-resistant kelp to help restore them.

The cast includes Professor Craig Johnson (Professor of Marine Ecology, Institute for Marine and Antarctic Studies), Dr. Anusuya Willis (Director of the Australian National Algae Culture Collection, CSIRO) and Grace Chung (Head of Google Research Australia).

The Invisible Forest follows the Coogee-based independent last month spearheading the strategy and creative direction for a separate initiative aimed at combating the imminent threat of deep seabed mining. The global impact campaign was led by Laura Clarke, co-founder of the Palau Pledge.

See also: Emotive asks industry to donate $5m in media to combat deep seabed mining threat

Credits:
Client: Google ANZ 
Creative: Emotive and Sam Cotton 
Research and Insights: Pollinate 
Production: Mint 

By Helen Johnson, Australia-based managing director and partner at Tangram

AI, technology, and automation are transforming the advertising industry, with networks like WPP, Publicis Groupe, and Omnicom pouring vast sums—hundreds of millions of dollars—into AI, technology, and automation.

WPP has announced a £250 million ($A480 million) investment in AI for 2024, and Publicis Groupe has committed €300 million ($A493 million) to AI.

These investments will enable the holding companies to develop and deploy proprietary AI and technology solutions, and gain access to exclusive partnerships and platforms.

Plus, these massive investments speak volumes about the networks’ commitment to staying ahead of the curve and revolutionising advertising practices.

With resources of this magnitude at their disposal, these networks are not just embracing AI—they’re shaping its future. 

If indies don’t think about how to implement AI too, they’ll be left behind.

How AI and technology is reshaping the advertising industry

Some of the best examples I’ve seen of agencies using AI demonstrate a level of innovation and forward-thinking that sets the standard for the entire industry:

• Optimising design and production – Omnicom has forged partnerships with generative AI tools like Getty’s AI platform. Through these collaborations, agencies are revolutionising the creative process, generating bespoke assets like images, videos, headlines, and slogans with unprecedented speed and precision.
• Managing vast amounts of media data – AI isn’t just a game-changer for creative output, it’s also revolutionising media planning and buying. GroupM has been leveraging AI to analyse huge amounts of data, predict outcomes, and allocate budgets across channels and platforms. 
• Automating the operations cycle – dentsu has been measuring and optimising business processes using automations to eliminate manual busy work for their business, saving thousands of hours across their network.

Holdco watch-outs

Despite the giant leaps that have been made, the networks need to be careful and make sure they don’t stumble into common pitfalls. Time and time again, I’ve seen agencies invest heavily in new technology. Networks are renowned for operating in silos, failing to collaborate effectively and leading to disjointed efforts and missed opportunities.

It’s not just about implementing flashy new tools; it’s about understanding how each component fits into the broader strategy and workflow. Networks investing heavily into AI, technology, and automation need to do it with a holistic approach, or risk investing resources into solutions that may not stand up. With the head start they have, it’s crucial for networks to get it right early on.

The opportunity for indies

So what does this mean for the independent agencies, which are often praised for their agility and creativity? With resource disparities and lacking the scale of the holding companies, how can they fend off the looming threat and assert their place in the new order?

The good news is that there are opportunities for indies to harness AI without breaking the bank. Many tools for building applications and automations come bundled in packages from industry giants like Microsoft and Google. No-code apps, easily accessible, and cheap to implement with no need for a development team.

To navigate this landscape successfully, independent agencies must ensure their data is organised and well-documented, steering clear of unnecessary complexity in tracking client data. By understanding their processes inside out, indies can avoid adding unnecessary layers to their tech stack and identify areas ripe for automation.

While networks may have the upper hand with their significant investments in AI, indie agencies possess agility, creativity, and the potential to carve out their niche in the AI era. It’s a competition fuelled by innovation, and with the right strategy, indie agencies can indeed hold their ground against the networks powered by AI.

Fox Netball returns this weekend coverage when the 2024 Suncorp Super Netball season launches on Saturday, April 13.

Fans can stream every game live and on-demand, with select games in 4K on Kayo Sports, also available on Hubbl.

The sport is back after an off-season that went from the highs of a World Cup win by the Australian Diamonds. There were challenges aplenty though with the loss of private and government funding. The code also lost its CEO Kelly Ryan who quit after two years of running the sport.

There was subsequent board turnover and the settlement of a long-running players’ pay dispute.

But here we are – the start of a new season. A season that boasts a new team – Melbourne Mavericks. A team owned by Craig Hutchison’s Sports Entertainment Group.

Lots of transfer action and the new team means fans will taking guidance from the Fox Netball commentary teams.

Netball commentary team

Australian men’s captain Dylan Nexhip and former New Zealand Silver Ferns captain Katrina Rore will join the Fox Netball commentary team.

They will work alongside Hannah Hollis, Cath Cox, Bianca Chatfield, Kim Green, Sue Gaudion, Caitlin Bassett, Sam Poolman, Madison Browne, Emily Beaton, Kierra Trompf, Sharon Finnan-White and Ben Homer for the 2024 season.

To mark the launch of the new season, Fox Netball’s Hannah Hollis, Cath Cox, Bianca Chatfield and Kim Green joined Kiera Austin, Jo Weston and Zara Walters from the Melbourne Vixens, and Amy Parmenter, Eleanor Cardwell, Sasha Glasgow, and Liv Lewis from the Melbourne Mavericks at a fan community day at Parkville State Netball and Hockey Centre, Melbourne.

Fox Netball programming

Fox Netball will be the place for fans with a new weekly line-up of entertainment.

The 4th QTR podcast hosted by Sarah Karaoglu and joined by journalists and experts as they debate the seasons big talking points each Thursday at 7pm (also available on Kayo Freebies).

Fox Netball’s feature documentary series Off The Court will showcase eight marquee players, away from the court, airing on select Saturdays at 8:30pm after the game.

The program for Netball fans Pivot, now as a one-hour show with increased player involvement and analysis of every match, streaming Sundays at 5:30pm.

A new fortnightly expert analysis show, Cath and Kim Netball Analysis, hosted by Cath Cox and Kim Green to deliver the games biggest plays via the Fox Netball and Kayo Sports social platforms.

Fox Netball executive producer, Erin Ferreira, said: “In 2023, Fox Netball elevated its coverage of Suncorp Super Netball to new levels, resulting in a record-breaking Grand Final contest, where the Adelaide Thunderbirds clinched their first premiership in extra-time.

“We’re excited to take this partnership to the next level this year through our unparalleled game day access, top-tier commentary team and impactful storytelling from the game’s biggest names.”

NSW Swifts won the 2024 pre-season competition

Kayo Sports executive director Cate Hefele added: “Kayo Sports will continue to bring every game live and on-demand for netball fans around the country, and with both Sunday matches available live on Kayo Freebies, it’s easier than ever to watch the best netballers go head-to-head every weekend. We are seeing more fans coming to Kayo to watch netball, with viewership growing nearly 15% last season, and this year we are looking for even further growth as we welcome a new team, new rivalries, and the fierce world-class competition that Super Netball delivers.”

Fox Netball is the only place to see every game of every round of the 2024 Suncorp Super Netball season, including finals, live and ad-break free during play.

Top photo: Fox Netball commentators Kim Green, Bianca Chatfield, Hannah Hollis and Catherine Cox

Watch on Kayo Sports, also available on Hubbl, or Foxtel’s Fox Sports.

Compiled by Jasper Baumann and Tess Connery

Behind the scenes of Darling, Shine!

The Darling, Shine! podcast was born when Chloe Fisher and Ellidy Pullin found themselves facing earth-shattering life events, widowhood and fertility challenges.

In each episode, the pair share the experiences of womanhood, grief, fertility, friendship and everything in between. 

Behind the scenes steering the ship is producer Karly Nimmo, who spoke to Podcast Week’s Tess Connery about what it’s like running the podcast.

The funny thing about podcasts is that on the surface it sounds like two mates sitting down and catching up. Can you tell me a bit about what goes into making it sound like that?

Nimmo: “When you’re working with two co-hosts, you’re often dealing with two people who are very different to each other. It’s unusual, but the show wouldn’t do as well if you had two of the same person – if you had two Chloes or two Ellidys, it just wouldn’t be the same. You need some salt and pepper. 

“One thing that I find really unique about this show is that who they are on the podcast is who they are. They don’t jump into character to record, the way they come across on the podcast is who they are in real life. I think that’s part of the success of the show, their authenticity. They own who they are, and that seems to really resonate with the audience.”

Darling, Shine! has cracked the top 50 of the Podcast Ranker. I imagine that must be quite gratifying?

Nimmo: “It’s nice to have the hard work recognised, because it is hard work. Producing 52 episodes a year is quite a gruelling schedule, anyone who’s produced a podcast knows the level of work that goes into getting an episode out every week. It’s not easy.

“Getting those kinds of results, like where we’re sitting in the charts right now and how we’re performing is a good payoff for some pretty hard work behind the scenes.”

That schedule must be particularly interesting with the hosts travelling around so often!

Nimmo: “That’s another really unique thing about this show. Chloe spends more than half the year overseas – she does a stint in Spain for three months, they’re in LA for a good portion of time, they’re in Bali. They’re all over the place, because FISHER’s [Chloe’s husband, musician Paul Fisher] schedule is hectic. 

“So our show is really the only show on the network that’s fully remote. We’re not based out of the studio, we’re based out of wherever those girls are. Sometimes we’re recording from FISHER’s studio on the Gold Coast, sometimes we’re recording from Ellidy’s house, sometimes we’re recording from a hotel in Bangkok.”

You’ve got some momentum behind you now, is there anything you guys are really working towards?

Nimmo: “The girls have been with us now for over a year, with me as the producer. We’ve gone through a lot of different areas of focus – where we want to improve, what we want to try. Last year we went through a lot of getting the systems and processes and the workflow right, and figuring each other out.

“This year has been about where we want to go, and part of that looks like really coming back to being on brand. What does Darling, Shine stand for? What are the things that are in our wheelhouse? What are the conversations that we want to be having? What are our key themes? 

“We knew all along that fertility was going to be a key theme. We knew all along that grief would also be a key theme. Friendship is another massive theme, because the whole show is on the premise of the whole idea of a chosen family. We want to be talking about unspoken issues when it comes to womanhood, so we’ve come back to that focus.”

[Listen to Darling, Shine! here]

Nine’s Road to Paris podcast highlights the glory and heartache of Australia’s Olympic and Paralympic legends

The Road To Paris is an exclusive podcast series from 9Podcasts and Wide World of Sports that celebrates the achievements of Australia’s Olympic and Paralympic legends.

Hosted by Wide World of Sports Olympic swimming commentator, Mathew Thompson, the 16-part podcast series lets listeners be a fly-on-the-wall to candid conversations with some of Australia’s greatest Olympians and Paralympians including Anna Meares, Kieran Perkins, Ellie Cole, Curtis McGrath, Andrew Gaze, and Ariarne Titmus as they discuss their own trials and triumphs, glory and heartache – all in the pursuit of Olympic excellence.

The first episode of The Road to Paris is available now and features four-time Olympian cyclist, and Chef de Mission of the 2024 Australian Olympic Team, Anna Meares OAM, as she reflects on her career.

The Road to Paris is sponsored by Woolworths, Toyota and NRMA Insurance. 

[Listen to The Road to Paris here]

Entrepreneur Steven Bartlett launches podcast media and technology company 

Steven Bartlett has announced the launch of Flight Studio, a global podcast media and technology company. 

The new company is working across every component of the podcast development, creation, growth and monetisation process. 

At launch, the first podcasters joining Flight Studio include;

• Davina McCall
• Paul C Brunson
• Dr Tara Swart 
• Africa Brooke
• Kristen Holmes
• The Diary Of A CEO

FLIGHT STUDIO LAUNCH SHOOT
Photographer: Tom Harrison

Alongside Steven Bartlett, Flight Studio will be led and co-founded by Georgie Holt, Acast’s former regional managing director for the Americas, and former US head of sales and brand partnerships, Christiana Brenton. 

Flight Studio will have global production studios based in London, Manchester, New York, Boston and Los Angeles. 

Steven Bartlett said: “I truly believe that we have every core component ready to redefine the global podcasting industry with this new company. We have done this in our own tiny way already with the Diary of a CEO, but I’m haunted by the potential that we see to scale this globally, for the people and the voices who will change the world.”

[Listen to The Diary of a CEO here]

Secrets of a Self-Starter with Mim Rizvi returns for a second season on LiSTNR

LiSTNR has announced a second season of Secrets of a Self-Starter with Mim Rizvi, which takes listeners behind the closed doors of mentor sessions with Australia’s top entrepreneurs and self-starters.

In the new season, Rizvi continues to facilitate conversations between top performers and participants from the Accelerator for Enterprising Women Kickstarter Challenge, giving listeners the chance to be a fly on the wall and be inspired to turn their passions into a profession with real advice from self-starters in a range of industries.

This season will see Rizvi speak to Steph Claire Smith from the successful KIC wellness empire; Hailey Brown, who founded Vacayit in 2020, the world’s first audio tourism platform for the blind and low-vision community; Doug English, founder and CTO of the global employee experience platform, Culture Amp; Sara Bell, CEO and Founder of RIISE global marketplace and editorial platform, and LVLY gifting service co-founder Verity Tuck.

Secrets Of A Self-Starter will have five episodes in season two, released fortnightly on Wednesdays. 

[Listen to Secrets Of A Self-Starter here]

‘I felt like I was really letting them down’: Uber’s Nicole Bardsley on work-life balance and leadership

Nicole Bardsley, the new head of marketing at Uber, Uber Eats, and Uber Car Share ANZ, has opened up about the point in her career that she “found really tricky to manage.”

“I started that year [2015] doing the Marketing Academy and getting married, and I finished it having my first son.

“There was a lot of growth and personal development that happened over that period of time. I really got to a point where I was like, I need a new challenge when I come back from mat leave, but is it the right time to do that?”

Bardsley was speaking to News Corp Australia’s director of the Growth Intelligence Centre and independent think tank The Growth Distillery, Dan Krigstein on The Growth Distillery vodcast.

Those experiences shaped how she leads her own team. Bardsley told Krigstein that soon after she started as Cashrewards CMO, a team member came to her with news she was pregnant. 

“They came to me and they were almost apologising, that it was an inconvenience that they were going off to have a baby. I don’t think anyone having a baby should ever see it as an inconvenience.

“I imparted the same piece of advice that I was given, which is ‘don’t be sorry, take as long as you need’. It’s important to realise that it’s not just about what we do during the day and what we do for work, it’s about our full self and I think as a leader, it’s very important to bring that full self to work.”

[Read more]

Active Media Group founder, Michael Ryan, and Blobfish International CEO, Nic Cann, have partnered to launch pet-focused media channel, Fur Media. 

The team also includes Corey Dawson, who is managing the technical elements of the business, and Saskia Parton, who brings nearly 25 years’ sales experience to Fur Media.

Fur Media has launched in Australia, with rollouts underway in the UK and New Zealand.

The business offers a digital out-of-home network in vet receptions across the country, reaching nearly 1.6 million Australian pet owners every month.

Fur Media’s network includes a range of “pee-proof” screens with a slimline fit to suit vet reception areas, as well as its own content delivery system.

Fur Media’s Michael Ryan, Corey Dawson, Saskia Parton, and Nic Cann

Ryan said when the pair initially decided to explore the pet owner market, “We were blown away by the sheer volume of customers that vet facilities across the nation have each month.”

“It’s an untapped market, with prime advertising opportunities, not just for pet-related brands but many brand categories looking to tap into this valuable audience. We knew that vet offices are generally happy places – everyone is friendly and nice – and this level of engagement is a compelling proposition for advertisers.”

Cann said people are in vet facilities for an average of 20 to 30 minutes, which is much higher than the market average

“Vets’ offices offer high dwell times with an engaged audience of pet lovers. Vets have been specifically chosen to be high volume, with a variety of audience types that appeal to a wide range of advertisers, not just the pet category.”

Australians have one of the highest pet ownership rates per capita in the world, owning 28.7 million pets and approximately 69% of households. In addition, 75% of these pet owners live in a multi-person household, and 82% of pet owners are from households with incomes of $100,000 or more.

Australians also spend a lot of money on their pets – at more than $33 billion on pet services and products in 2022 with food representing 51% of all expenditure, followed by veterinary services at 14%. In addition, 35% of new pet owners had to upsize their car for their pet.

Sydney-based independent agency, The Hallway, has unveiled a new brand campaign for BCU Bank, with a playful nod to some of the more unorthodox financial backup plans of Australians.

From “asking daddy” to selling feet pictures and waiting for inheritances, A Better Back-Up is rooted in genuine consumer behaviours, as revealed by research conducted by BCU Bank in partnership with market research and data analytics firm, YouGov.

The research sheds light on the unconventional “Plan B” tactics that have been employed by many Australians in response to the escalating cost of living. A Better Back-Up positions BCU Bank as an alternative to traditional banking options, with a specific emphasis on its role as an option during such times of financial hardship.

Michelle Hemingway, head of marketing at BCU Bank, said the findings of the study spoke to the financial challenges faced by many young Australians today.

“Our research uncovered how increasing cost-of-living pressures, as well as low financial literacy and confidence, were impacting consumers,” said Hemingway.

“We learned some Gen Zs and Millennials are joking about – or dabbling in – unconventional tactics or ‘Plan Bs’ to make money and boost their savings.

“Our goal is to support our existing customers, while also connecting with younger Australians who need a leg up to reach their financial goals.”

In addition to the media campaign, BCU has introduced a complementary PR strategy, including the creation of a “Footography Studio” that offers express pedicures and professional foot photography at busy locations.

Jessica Thompson, creative director at The Hallway, said: “Working with BCU Bank on becoming the most memorable back-up has been a riot and it’s to their credit that they leaned right into their brand personality traits of being human, quick-witted and tenacious and didn’t shy away from poking fun at themselves.

“For all the brands in the world calling themselves either leaders or challengers, there aren’t many who proudly stake their claim as your best second choice.”

In March this year, a study published by strategic communications company Porter Novelli Australia and research agency Quantum Market Research revealed that with household budgets tightening, Australians are becoming less swayed by environmental, social and governance (ESG) issues such as sustainability when it comes to their food purchasing behaviour.

See also: ‘Nothing sharpens your focus at the supermarket like 13 interest rate rises’: Cost of living weakens Australians’ sustainability interest

Credits:

Client: BCU Bank
BCU Bank General Manager: Mark Smyth
Head of Marketing: Michelle Hemingway 
Brand & Marketing Manager: Claudia Dalton
Creative Design Lead: Britney Nash,
BCU Bank’s Brand & Marketing Team 

Creative & Media Agency: The Hallway

PR: Aruga
Co-Founder and Partner Lead: Adam Brunes
Account Lead: Kimberley Roberts
Director of Content: Belinda Seeney
Account Director (PR): Jai Johnstone

Brand Activation: BonBon
Events & Activations Director: Kirsty Adams
Partnerships & Engagement Director: Dana Brown

Sue Cant has been appointed as head of investment for This is Flow.

She brings two decades of industry experience to the independent media agency. Her most recent role was at fellow indie Affinity, where she was head of media for more than two years. 

Prior to that, she was head of investment at Dentsu X and client and investment lead at Carat for close to seven years. Cant also worked with Amplifi ANZ and MediaCom Australia.
 
As head of investment for This is Flow, Cant will lead the agency’s investment endeavours, enhance effectiveness across all client initiatives through implementation, elevate media relationships across all channels, and further innovate planning and buying processes.

Jimmy Hyett, founder and CEO of This is Flow, said it was a “no brainer” to bring Cant into the Flow family.

Cant said that one of the reasons she was drawn to joining the independent agency was its growth under Hyett and the team’s leadership.

“However, what truly sets Flow apart is its relentless drive to keep pushing boundaries and evolving. This forward momentum fills me with excitement not just for present achievements, but also for the future direction of the agency.”

Cant’s appointment comes after that of Straford Rodrigues as chief data officer.
 
In his new role, Rodrigues will be responsible for elevating media and marketing effectiveness for clients. He will also work alongside the agency’s data science unit to continue driving innovation in data and technology.
 
See also: This is Flow welcomes Straford Rodrigues as chief data officer

–
 
Top image: Sue Cant

Claxon has won another UK client, becoming the media and creative agency of record for UK-based health and wellness brand Phizz ahead of the agency’s official UK expansion later this year.

The win comes after the independent agency won the media account of Irish cosmetic clinic brand Sisu Clinics.

Claxon’s immediate remit for Phizz will be to build a robust omnichannel media strategy for the UK market as part of the brand’s growth strategy, which will also include the use of creative AI. 

Brian Collins, head of growth at Claxon, said the agency’s mission is to empower brands such as Phizz to thrive in the digital age by providing the strategic insights and creative solutions they need to stay ahead of the curve.

Collins said the partnership gives Claxon the opportunity to showcase its capabilities in strategy, media, and creativity, underpinned by AI.
 
“Central to our approach is harnessing the power of AI and creativity to create impactful media campaigns across all brand touchpoints, driving engagement and fostering brand loyalty. We’re committed to helping the brand engage more customers and reach its market expansion goals.”

Olivia Morrison, head of marketing at Phizz, said Claxon’s creative AI stood out in market and the agency would elevate the brand’s presence and ambitions.
 
The Phizz account win also comes after Claxon acquired Gold Coast-based creative agency Embark, which was founded in 2003 by brothers James and Phil Coulson. This is Claxon’s second acquisition in 14 months, following that of Growe Media.
 
Daniel Willis, founder and CEO of Claxon, said acquisitions are a focus for the agency, especially as it continues its current push into the UK market.
 
The acquisition sees Embark retain its own brand in the market but assume a co-branded position, with all staff and clients remaining with the expanded agency.
 
See also: Claxon acquires creative agency Embark
 
–

Top image: Daniel Cray

Employment Hero has appointed independent creative agency Special London on a global brand brief. This follows a competitive pitch between agencies from both Sydney and London.

The business will partner with Special to create a global brand platform that drives penetration in key markets including the UK, US, Australia, New Zealand, Singapore and Malaysia. 

Special Group UK will collaborate with the Employment Hero global team on brand strategy and creative execution. The partnership is designed to strategically position Employment Hero for sustained success and impactful global expansion.

Employment Hero operates across five markets, and is used by 300,000 SMEs and over 2 million of their employees globally. It was founded in 2014 by Ben Thompson, CEO, and Dave Tong, CTO, with a vision to provide businesses with a scalable, cloud-based platform that would make it easier to manage payroll, HR and benefits.

Matt Poulier, global head of brand at Employment Hero, called the partnership “a pivotal moment in our journey towards global leadership in the employment industry.

“Our success in Australia has set a strong foundation, and now, as we expand globally, Special Group UK’s remarkable strategic acumen and creative vision stand out as the catalysts for our next phase of brand evolution.

“Their exceptional approach in the global pitch process showcased a deep understanding of first-principle thinking and a commitment to challenging the status quo. This aligns perfectly with our mission to break down barriers and deliver unparalleled value to both our B2B and B2C audiences worldwide.”

Jennifer Black, partner and CEO of Special London, said: “From the beginning of our relationship with Employment Hero we were struck by the ambition, energy and pioneering spirit of this organisation and everyone who has built it.

“It is a brand that is truly disrupting the world of work for the better so we are absolutely thrilled to be their partner to deliver bold strategic thinking and ambitious creative that matches their aspirations for the business and brand.

“The team is absolutely lovely to boot and we’re already running at pace to bring our collective thinking to life. This brand is going to change the world, we are delighted to play a part in that journey.”

The Brand Agency has appointed Jessica Harold as its group creative director.

She joins the agency after just over a year as creative director at Smith Street, the bespoke Coles agency powered by DDB, OMD, and Deloitte. Prior to Smith Street, Harold was creative director at Big Red and AJF partnership.

The Brand Agency’s managing director Jim De Giorgio anticipated the energy and perspective Harold will bring to the WPP-owned, full-service agency.

“Jess has an outstanding track record of building brands and driving sales results. She’s worked on some of Australia’s highest profile retail brands and is the perfect fit for our agency and our clients,” said De Giorgio.

Harold said she was exciting to be joining the agency. “They’ve got a culture that aligns to mine. They are all about growing client businesses and delivering results,” she said.

The Brand Agency recently announced it had successfully retained its Tourism Western Australia account, additionally being awarded Tourism Western Australia’s new creative services contract to continue promoting the Walking On A Dream brand platform to global audiences.

The contract, effective from 20 March 2024, will remain in place for up to five years.

Earlier in the week, The Brand Agency’s managing director, Nick Bayes, took to LinkedIn to share the news in a post: “Proud and excited that The Brand Agency has been re-appointed to the Tourism Western Australia business.

“I truly believe that WA is not only the best place to live, but also to visit in the world. And it is an honour that our agency continues its partnership with Tourism WA in helping to tell the world about (and to get them to visit!) our wonderful state.”

See also:

Tourism WA re-appoints WPP’s The Brand Agency
Fran Clayton leaves DDB Sydney for Ogilvy AUNZ CSO role

–

Top Image: Jessica Harolds and Jim De Giorgio

After wrapping up with an explosive reunion episode, Married at First Sight season 11 has increased its year-on-year audience, with the entire series reaching 14.2 million people across total TV. 

The latest season saw a Total TV national average audience of 2 million viewers per episode. It recorded a 4% year-on-year increase on total TV, a 1.5% year-on-year increase on broadcast TV, and a 9.6% year-on-year increase on BVOD.

2.545 million viewers were reached on 9Now, providing an incremental reach of 22% to broadcast TV. Almost one-third of the key demographic of 16-39s were reached through 9Now.

Nine’s crucial demographic of 25-54s recorded a total TV national average audience of 1.003 million viewers per episode, representing year-on-year growth of 4.3%. On BVOD, the 25-54s audience was up 11% year-on-year. 

Hamish Turner, director of 9Now and programming, said MAFS sets the blueprint for how a multi-platform program shows the strength of free to air.

“The series has set us up for a huge Q2 that will take us from LEGO Masters through to the Olympic and Paralympic Games,” he said. 

This season also saw major brands tap into MAFS such as Uber, which promoted its Uber One campaign with integrations that included Uber Ride and Uber Eats throughout the season. HBF also worked with Nine’s creative solution division Powered Studios to launch an integrated TVC featuring the HBF quokkas sneaking into a MAFS Commitment Ceremony. 

The most notable brand associated with this season was Westpac, which launched its campaign around Valentine’s Day through spots on MAFS that saw season 10 couple Duncan and Evelyn share their views on how they approach money and relationships. 

The final Married at First Sight reunion recorded a total TV national reach of 2,752,000, a total TV national audience of 1,731,000, and a BVOD audience of 326,000. 

See also: TV Report April 8, 2024: Tori and Jack storm out of heated MAFS Reunion Commitment Ceremony

Australian digital healthcare provider Midnight Health has partnered with PR and creative agency, Keep Left, to grow the audience and market share of its product offering. 

Launched in 2021, Midnight Health is a patient-centred digital platform backed by nib. Its mission is to make healthcare more accessible with a focus on underserviced Australians, including young people, as well as people in regional and remote areas.

To do this, the company uses two consumer-facing platforms, Youly and Hub.health.

Youly provides online medical services for women over the age of 18 and was the first company in Australia to deliver same-day emergency contraceptives to a patient’s home. Meanwhile, Hub.health diagnoses and prescribes treatment for all Australians, writing online scripts and providing medical certificates via email. 

Midnight Health head of marketing Mike Doyle said: “Midnight Health was born out of the need for more streamlined digital health solutions that provide people with options and flexibility.

“Keep Left has come on board at a crucial time in our growth trajectory. The agency will be a vital partner, helping to manage our reputation in a highly regulated environment.”

Keep Left will lead Midnight Health’s PR efforts as it looks to launch new products, services, and brands while driving awareness of programs including support for sexual health and weight loss management solutions. Keep Left will also assist Midnight Health in activating partnerships, and managing influencers and brand ambassadors. 

Keep Left’s CEO Caroline Catterall said: “We’re passionate about lending our specialist expertise to brands focused on accessibility and empowerment.

“Midnight Health is certainly a trailblazer in this space. We’re excited to provide the business with proactive support to take its services to more patients across the country.

“It’s about time all Australians had access to care at the touch of a button, particularly women and families in remote and regional areas.”

Grill’d has appointed DEPT as its partner for creating digital experiences, hitting the ground running with both the digital agency and the burger chain collaborating to launch Grill’d’s new iOS/Android app. 

The new app focuses on enhancing user experience and efficiency. New functionalities include revamped ordering for speed and convenience, easier access to benefits in the improved loyalty program Relish, and integration of the community program “Local Matters” for an engaging restaurant-like experience.

The backend architecture was re-engineered to eliminate redundant information handling, a simplified sign-up process, and a selection of preferred burger combinations for the Favourites section.

DEPT has also redesigned the Grill’d website and brought the Grill’d app experience to the web for customers to make orders, book catering, and donate to local causes in one place.

Anna Pearce, head of digital and relish at Grill’d said the agency’s experience QSR and eCommerce was especially relevant for their brand, as well as DEPT’s understanding of our business and the high quality of solutions.
 
Evan Davey, partner and VP of Growth at DEPT, said the agency is looking forward to pushing the Aussie burger market to the next level with a holistic digital solution for Grill’d.
 
News of the partnership between Grill’d and DEPT comes after the burger chain launched a campaign for the second annual ‘festival of footy,’ AFL’s Gather Round event in Adelaide, which was broadcast over the weekend on Fox Footy (available on Kayo Sports and Foxtel).
 
The Grill’d campaign aimed to celebrate the Aussie sport by highlighting its commitment to delicious, healthy food that makes athletes and Australian consumers alike love Grill’d, while also taking a cheeky dig at one of the event’s major brand partners, McDonald’s.
 
See also: Grill’d takes a jab at Macca’s in latest work for Gather Round

10 has announced the brand new season of The Cheap Seats is set to premiere on Tuesday 30 April at 8:30pm on 10 and 10 Play. 

Comedians Melanie Bracewell and Tim McDonald, alongside their cultural correspondent Mel Tracina, return to cover all the important stories in the news world. Plus, there will be all new instalments of Mel’s Markets, Timformercials, Across The Ditch and What’s On What’s On In The Warehouse.

Bracewell said: “Despite Tim and I not being on speaking terms, I’m willing to fake it for the 2024 season of The Cheap Seats. I’m hearing whispers that ‘Across The Ditch’ will be returning, bigger and better than ever. I am the one doing the whispering.”

McDonald added: “We’re so excited to be back for Season 4. New year, new stories, but the brief remains the same – Media Watch meets Love Island. 2024 will be a year of big events, from the Olympics in Paris to the US Election. I think there’s even a pickleball tournament in Launceston. We’ve got it all covered.”

In November 2021, Mediaweek spoke to Bracewell and McDonald about how the show came together and what the world looks like from The Cheap Seats. The Cheap Seats is produced by the team at Working Dog Productions, who originally approached Bracewell and McDonald.

McDonald: “The Working Dog boys had been playing around with this idea for a long time, then Channel 10 came to them and said, ‘we’ve run out of NCIS, have you got anything for Tuesday nights?’. They turned to Mel and I – we had both been doing Have You Been Paying Attention? for them – and they said, ‘we’ve got this idea, do you guys want to have a play around with it?’ We got to play around with it at the start of the year, and we did about seven or eight pilots.”

Bracewell: “It almost started with the Have You Been Paying Attention? off cuts. They’d say, we find all the stuff and we have no idea where to put it, so could we just hand it off to you guys and you guys make it funny.”

McDonald: “On Have You Been Paying Attention?, the clips we play tend to be about five seconds long. We don’t have time to play anything longer than that. We were finding great stuff that was 20 or 30 seconds long, so I think it was a way to use all that stuff that we find each week in a different way.”

See also: Melanie Bracewell and Tim McDonald on the view from The Cheap Seats

TV Report 10 April, 2024:

Nine TV Report

Gordon Ramsay’s Food Stars

Nine’s evening began with the sixth episode of Gordon Ramsay’s Food Stars.

Last night, the food stars took on the most iconic Australian brand ever, Vegemite.

Despite its status as a beloved, world-famous brand, Vegemite is yet to be embraced by one of the biggest markets in the world: the USA. Gordon and Janine tasked their remaining teams of four to find a new use for the Aussie staple that will appeal to the American market. 

The entrepreneurs are challenged with creating two food dishes, one sweet and one savoury, that appealingly incorporate Vegemite. After serving up their plates at a live event, the teams must had to slather an extra layer of joy onto the experience for their patrons, performing a fresh take on the brand’s jingle, giving the household favourite “Happy Little Vegemite” a run for its money. 

A Current Affair

Over on A Current Affair, the program met with frontline workers left astounded over Queensland tradie pay deal and investigated a bodybuilding vigilante who pounced on an alleged peeping tom. 

Seven TV Report

The Front Bar

The Front Bar featuring Sam Pang, Mick Molloy and Andy Maher was next on Seven as they shared a laugh about the world of AFL and caught up with stars of yesteryear and today, ahead of the sixth round of the AFL 2024 season.

Home & Away

Earlier in the night was Home & Away as Justin and Theo clashed and Tane went on the run.

10 TV Report

The Project

The Project on 10 reported on the planet Mercury causing chaos in retrograde and chatted with Judith Lucy & Kaz Cooke. 

I’m A Celebrity… Get Me Out Of Here!

On 10’s I’m A Celebrity, Robert and Julia revealed that Denise Drysdale was the first celebrity to bid farewell to the jungle. Denise said goodbye to her campmates, the staple rice and beans, and hello to the luxuries of a warm shower and plush bed. 

A big win for Denise was the opportunity to raise awareness of her chosen charity, Gotcha4Life, whose mission is to inspire and enable people to build mental fitness with the hope of a world where no one worries alone. 

ABC

7:30

On 7:30, Laura Tingle interviewed Treasurer Jim Chalmers and looked into how Japan is set to finally allow joint custody but some parents hold little hope of seeing their children again. 

SBS

Alone Australia

The participants’ focus this episode turned to food. While signs of deer urged some participants to head up the mountains, others opt for a menu of fish and berries. But with limited calories and tools, procuring food is no easy task, and participants are forced to think outside the box, or risk starvation. 

Tuesday 9th Apr 2024: VOZ Total TV Ratings Overnight Top 30 – Programs ranked on reach

Total People TV Ratings

Nine’s Gordon Ramsay’s Food Stars recorded a total TV national reach of 1,736,000, a total TV national audience of 376,000, and a BVOD audience of 40,000.

Nine’s A Current Affair recorded a total TV national reach of 1,611,000, a total TV national audience of 1,085,000, and a BVOD audience of 74,000.

Seven’s Ego: The Michael Gudinski Story recorded a total TV national reach of 1,617,000, a total TV national audience of 563,000, and a BVOD audience of 19,000.

Also on Seven, Home & Away recorded a total TV national reach of 1,341,000, a total TV national audience of 856,000, and a BVOD audience of 97,000.

10’s airing of I’m A Celebrity… Get Me Out Of Here! recorded a total TV national reach of 1,387,000, a total TV national audience of 737,000, and a BVOD audience of 58,000.

See Also: TV Report April 9, 2024: Gordon Ramsay’s Food Stars take on the iconic Cadbury Chocolate brand

People 25-54

Nine’s Gordon Ramsay’s Food Stars:
• Total TV nation reach: 644,000
• National Audience: 185,000
• BVOD Audience: 25,000

Nine’s A Current Affair:
• Total TV nation reach: 500,000
• National Audience: 304,000
• BVOD Audience: 41,000

10’s I’m A Celebrity… Get Me Out Of Here!:
• Total TV nation reach: 594,000
• National Audience: 328,000 
• BVOD Audience: 35,000

Seven’s Ego: The Michael Gudinski Story:
• Total TV nation reach: 491,000
• National Audience: 144,000
• BVOD Audience: 10,000

Seven’s Home & Away:
• Total TV nation reach: 409,000
• National Audience: 255,000
• BVOD Audience: 56,000

See also: “It just hit me right now”: Frankie Muniz’ devastating family revelation on I’m a Celebrity

People 16-39

Nine’s Gordon Ramsay’s Food Stars:
• Total TV nation reach: 261,000
• National Audience: 81,000
• BVOD Audience: 13,000

Nine’s A Current Affair:
• Total TV nation reach: 224,000
• National Audience: 137,000
• BVOD Audience: 22,000

10’s I’m A Celebrity… Get Me Out Of Here!:
• Total TV nation reach: 293,000
• National Audience: 156,000 
• BVOD Audience: 24,000

Seven’s Ego: The Michael Gudinski Story:
• Total TV nation reach: 183,000
• National Audience: 51,000
• BVOD Audience: 5,000

Seven’s Home & Away:
• Total TV nation reach: 177,000
• National Audience: 114,000
• BVOD Audience: 34,000

Grocery Shoppers 18+

Nine’s Gordon Ramsay’s Food Stars:
• Total TV nation reach: 1,338,000
• National Audience: 294,000
• BVOD Audience: 32,000

Nine’s A Current Affair:
• Total TV nation reach: 1,267,000
• National Audience: 854,000
• BVOD Audience: 60,000

10’s I’m A Celebrity… Get Me Out Of Here!:
• Total TV nation reach: 1,023,000
• National Audience: 544,000 
• BVOD Audience: 47,000

Seven’s Ego: The Michael Gudinski Story:
• Total TV nation reach: 1,246,000
• National Audience: 457,000
• BVOD Audience: 15,000

Seven’s Home & Away:
• Total TV nation reach: 1,042,000
• National Audience: 659,000
• BVOD Audience: 77,000

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