Are Media has appointed Anna Quinn as its new director of sales, strengthening its leadership team as the company continues its transformation into a true omnichannel media powerhouse. Quinn will take on the role from 17 March, reporting directly to Are Media CEO Jane Huxley.

In her new position, Quinn will oversee advertising sales, creative and commercial strategy, affiliate sales, and operations for Australia’s largest and most influential women’s media business. She will also be part of Are Media’s executive leadership team.

With a career spanning 25 years, Quinn is one of the most respected figures in the Australian media and advertising landscape. She has held senior leadership positions across some of the industry’s biggest companies, including Nine Entertainment Co., WPP Australia, MAXMEDIALAB, Napoleon Perdis Cosmetics, and ACP Magazines/Bauer Media.

A career defined by commercial excellence

During her tenure at Nine, Quinn played a pivotal role in shaping the company’s commercial strategy as General Manager of Nine Powered. She was instrumental in developing premium revenue initiatives that connected brands with audiences through content, context, and deep data insights. Prior to that, she spent nearly a decade at ACP Magazines/Bauer Media, where she held senior commercial roles across some of Australia’s most iconic publishing brands.

Most recently, Quinn served as the Australian managing director of Hogarth, WPP’s global advertising and marketing content production business. Before that, she led MAXMEDIALAB, Australia’s top luxury media and influencer agency.

Jane Huxley, CEO of Are Media, said, “I’m delighted that Anna has agreed to join Are Media and lead our advertising sales teams as we continue our transformation into a true omnichannel media content business.

“Anna brings with her great expertise in sales leadership, sales and commercial strategy, developing integrated cross-platform solutions and digital transformation. She has a proven track record in driving business transformation, leading large high-performance sales teams, and delivering strong revenue results – plus excellent relationships with our key commercial partners.”

Quinn added, “Are Media’s brands are some of the most trusted and influential in the country, with a unique ability to connect deeply with Australian women across every platform – print, digital, social, video, commerce, and immersive experiences.

“The engagement of these audiences, combined with rich data insights, creates an incredibly powerful opportunity for commercial partners to align with content that inspires and excites.

“I’m thrilled to be joining at such an exciting time, working alongside Jane Huxley – a visionary leader who is driving Are Media’s transformation into a true omnichannel content powerhouse. I’m excited by the opportunity to leverage the power of these iconic brands to create meaningful connections between audiences and advertisers.”

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Comedian Dave ‘Hughesy’ Hughes has addressed an incident at his Adelaide Fringe Festival show, where he removed three audience members for being disruptive. The moment, captured on video, showed Hughes confronting the trio after repeated interruptions during his set.

Speaking on Carrie Bickmore and Tommy Little‘s show Carrie & Tommy on SCA’s Hit Network, Hughesy defended his decision, emphasising the impact of audience behaviour on live performances.

“I suggested a woman and her friends stop talking in the second row of my show,” he explained on the show.

“I suggested a number of times, and then I gave an ultimatum. I said: ‘You can keep talking, but not in this room’”.

Despite repeated warnings, the women refused to stay quiet, with security eventually escorting them out.

Bizarrely, one woman even stopped to hug the comedian. “[When] she was coming at me, I thought, ‘she’s gonna punch me,’” he said. “Then she went in for a hug, and I think she said she loved me”.

He continued: “They had a night out. It didn’t go well for them. But you know what? I think the real culprit probably won’t even remember it. I don’t she. I think she was probably had that much wine that she won’t even know.”

Australian Story

It’s been a big media week for the comedian, who was featured on Monday night’s episode of the ABC’s Australian Story.

The program delved into key moments from his life, including his upbringing with a father who struggled with alcohol addiction and his own decision to embrace sobriety in his early 20s.

Hughsey addressed the show during his chat on Carrie & Tommy saying: “My parents have passed now, so I was probably able to talk a bit more freely about some of the stuff that went on when I was growing up”.

Pictured: Carrie Bickmore, Dave Hughes and Tommy Little

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Boomtown, the industry collective representing nearly 10 million people across regional Australia, has announced Network 10 as its newest member. The move brings the group’s total membership to nine, alongside SCA, WIN, Seven, ARN, ACM, Nine NBN, News Corp Australia, and Imparja.

Network 10’s inclusion follows its acquisition of regional television licenses from SCA last year, giving it coverage across key markets in Queensland, southern NSW, and Victoria. Its regional footprint now includes major centres such as Cairns, Townsville, Wollongong, Wagga Wagga, and Bendigo, reinforcing its role in delivering content to audiences outside metro areas.

New strength

Boomtown independent chairman Brian Gallagher said Network 10’s addition would strengthen the collective’s ability to advocate for regional media and expand opportunities for advertisers looking to engage with regional audiences. The partnership underscores the continued importance of regional markets in Australia’s media landscape.

“We are delighted to welcome Network 10 to Boomtown. Network 10 shares our vision for the future and our drive to move the needle on national media budgets in regional Australia,” he said.

“Last year, the collective claimed a 17.6% share of the national advertising budget, growing its stronghold by about 5% per year since 2019. While we have shown solid growth in the share of national advertising expenditure invested into regional media, there is still a long way to go.

“Expanding the collective, with the inclusion of a major media organisation like Paramount proves the ongoing relevance and importance of our efforts to ensure the nearly 10 million people living in regional Australia are not forgotten when brands are considering their advertising plans.”

‘Thrilled’

General manager of ad sales, Paramount Australia (parent company of Network 10), Nick Bower, said: “We are thrilled to be joining the Boomtown collective as 10 Regional. Boomtown’s commitment to increasing the awareness of regional audiences is impressive. As Network 10 unlocks the power of truly national total TV, we know our clients and partners already value the impact regional can have. We couldn’t be happier to welcome our newly formed and expert regional sales team over from SCA, and to join our other regional media players to continue the help Boomtown boom.”

Since launching five years ago, the Boomtown collective has worked to highlight the value of regional advertising for brands and agencies, aiming to grow the share of ad spend in regional Australia.

As regional markets evolve, Boomtown continues to advocate for greater recognition of their commercial potential, reinforcing opportunities for brands to connect with engaged audiences outside metro hubs.

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• This weekend, the Australian box office made $5,760,978, down -9% from last weekend’s $6,608,149.

Top 5

1. Mickey 17

Mickey 17, directed by Academy Award winner Bong Joon Ho who directed the 2019 hit Parasite, debuts at #1 at the Australian Box Office. The film, which brings to life Edward Ashton’s novel Mickey7, screened across 366 screens and grossed $1,674,832 in its first weekend.

Synopsis: Robert Pattinson stars as Mickey Barnes, an “expendable” crew member on a perilous mission to colonise an ice planet. He is assigned to high-risk tasks since he can be regenerated with his memories mostly intact. However, after one resurrection, something goes terribly wrong.

Total Australian Box Office gross to date: $1,674,832

2. Bridget Jones: Mad About The Boy

In its fourth week in Australian cinemas, the fourth instalment in the Bridget Jones has dropped to the second spot. The romantic comedy grossed $986,863 across 356 screens this weekend, down -45% from $1,809,167 earned last week across 469 screens last weekend.

Synopsis: Renée Zellweger reprises her role as Bridget Jones. Now a single parent, Jones balances parenting two young children, a demanding career, and the chaos of modern dating as she finds herself torn between a younger admirer and the unexpected possibility of romance with her son’s science teacher.

Total Australian Box Office gross to date: $13,653,584

3. Captain America: Brave New World

The latest offering from Disney’s Marvel Cinematic Universe has dropped down to third spot in the charts in its fourth week, the film earned $746,751 this weekend after screening across 310 cinemas, down -47% from last week’s earnings of $1,412,618 from 428 screens.

Synopsis: With Sam Wilson (played by Anthony Mackie) taking over as Captain America from friend Steve Rogers (Chris Evans), he finds himself at the centre of an international incident after meeting with President Thaddeus Ross. Wilson and the new Falcon, Joaquin Torres (played by Danny Ramirez) are thrust into a crisis and must uncover the motive behind a sinister global scheme.

Total Australian Box Office gross to date: $12,137,070

4. Ne Zha 2

The Chinese animated film has dropped down to fourth spot in its fourth week at the Australian Box Office. This weekend the film made $275,179 after being shown at 97 cinemas, a sharp drop of -63% from $739,603 generated across 122 screens last weekend.

Synopsis: The film follows the events of the first film, that see Ne Zha and Ao Bing survive the catastrophe by becoming Spirits. To stop from completely dissipating, Taiyi plans to rebuild Ne Zha and Ao Bing’s mortal bodies with the Seven-colored Precious Lotus. But amid the reconstruction, there are many obstacles.

Total Australian Box Office gross to date: $6,861,507

5. Anora

Fresh off its success at the recent Academy Awards – including Best Picture, Best Director and Best Actress – Anora has shot its way up the Australian Box Office charts after 11 weeks of release. The film took fifth spot this weekend, after ranking 41 last weekend prior to the Academy Awards. This weekend the film made $258,524 after screen across 124 screens, last weekend it grossed more than 1000% after making $22,307 across 29 screens.

Synopsis: Anora, a young escort from Brooklyn unexpectedly falls for and marries the son of a Russian oligarch. But when his powerful family in Russia learns of the whirlwind union, they head to New York with one goal—annul the marriage and put an end to her fairy tale.

Total Australian Box Office gross to date: $2,467,401

Top 6 – 10

The annual MFA Media Communication Industry Census revealed that the media agency industry continues to be resilient and adaptable in an evolving economic landscape.

The Census provides a comprehensive overview of the industry’s health and revealed that as of September 2024 MFA agency members employ 4,650 people – a drop from 4,778 people in 2023.

Despite the 2.7% drop from the previous year, the industry performed well in a softer market in 2024, impacted by global economic uncertainty, reduced media spends, and the continued adoption of AI.

Workforce trends: Stability, diversity, and parental support

Employee tenure has seen increased, with the average agency tenure rising to 3.8 years from 2.8 years in the previous year – highlighting stability and retention.

Progress in gender diversity also continues, with female leadership in media agencies rising to 48% of all management roles, up from 47% in 2023, while an equal 50:50 gender split was achieved among Leads and Heads of departments.

Another standout shift is in parental leave, with a record-breaking 216 primary carers – 4.8% of all employees – taking leave in 2024, the highest figure in a decade of measurement. Additionally, 82% of primary carers returned to work, reinforcing a positive shift in workplace support for parents.

The industry continues to adapt to changing client needs, with Implementation, Activation, SEO, and Assistant roles making up 50% of the workforce, though these categories have declined by 6.5%. Meanwhile, state-based management roles have grown by +18.5% and client service roles by +6.5%, reflecting shifting industry demands.

Vacancy rates have improved, dropping to 4.9% from 7.2% in the previous year. Sydney accounts for the largest share of vacancies (67.5%), with Manager, Executive and Director roles proving the hardest to fill.

Regrettable loss has remained stable at 25.3% a slight drip from 26%) and entry-level recruitment was also steady, with 342 new professionals entering the industry. Notably, 15% of these are over 27 years old, indicating a rise in career changers transitioning into media agencies.

Mark Coad, MFA Chair, acknowledged the workforce decline but emphasised that it aligns with broader economic conditions and industry trends.

“The Census shows that the shape of our industry is evolving. As technology, automation, and new ways of working redefine roles, we’re seeing a shift in skill sets and specialisations rather than a loss of capability. The industry remains strong, agile, and well-positioned for the future.”

Other noteworthy employee profile statistics:

• 64% of employees are women (up from 62% in 2023).
• The average age remains 32.7 years old.
• Average industry experience increased slightly to 7.9 years (from 7.8 years in 2023).
• Employment remains heavily concentrated in Sydney, Melbourne, and Brisbane, collectively making up 96% of all roles.

MFA CEO Sophie Madden said: “Media agencies demonstrated strength in tough trading conditions, while evolving in response to client needs. The growth in management and client service roles, along with more career changers entering the industry, is a positive sign of industry appeal and opportunity.

“Likewise, steady growth in female leadership, stable entry-level recruitment, and consistent retention rates highlight the impact of our commitment to talent development and diversity. This shows that our industry initiatives are fostering stability and strengthening pride in our profession.”

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Bundaberg Rum is continuing its rollout of its new ‘Forever Classic’ brand platform featuring the Bundy Bear with three new TVCs following a successful return at the 2024 NRL Grand Final.

The three 30-second TVCs, developed with creative agency partner Leo Australia, mark the latest instalment in the campaign, all about making good times with mates timeless, through classic stitch-ups, classic moments, classic products and serves.

Impressively recognised by almost 70% of Aussies over 18*, Bundy Bear’s return to our screens sees him and his group of mates engaged in a game of one-upmanship via several classic stitch-ups. ”Scam Artist”, “Roar” and “Rug”, all bring to life Bundy Bear’s cheeky, larrikin nature, showing how a Bundy is best enjoyed amongst mates.

All TVCs have been directed by Mr Inbetween’s Nash Edgerton, featuring the fully animatronic 7-foot bear created by Academy-award-winning costume and prosthetics house, ‘Odd Studio’.

“As we head into footy season, we know there’s no better drink to have in hand than an ice-cold Bundy,” Hayden Abercrombie, marketing manager – Rum at Diageo Australia, said.

“We’re thrilled with this next stage of ‘Forever Classic’, cementing the Bundy Bear at the front of Aussie hearts and minds as we gear up for many more timeless moments.”

Tim Woolford and Tommy Cehak, executive creative directors at Leo Australia, said: “Bringing the iconic Bundy Bear back to our screens after such a long hibernation has made for a hell of a good time. Stitching up your mates, and drinking rum, does it get any better than that?”

A national OOH campaign will appear in market over the coming months, exploring the theme of classic stitch-ups, as well as targeted contextual billboards in Bundy Heartland centres across NSW and QLD. 

Campaign Credits

Diageo | Bundaberg
Marketing Manager – Hayden Abercrombie
Senior Brand Manager – Emma Ryan
Assistant Brand Manager – Laura Rey Rodriguez
Marketing & Innovation – Mark Mcleod
PR & Culture Lead – Joanna Walsh

Creative Agency – Leo Australia
General Manager – James Walker Smith
Chief Creative Officer – Andy Fergusson
Chief Strategy Officer – Catherine King
Executive Creative Director – Tommy Cehak
Executive Creative Director – Tim Woolford
Copywriter – Bill Scheggia
Copywriter – Kevin Ma
Art Director – Lewis Catalano
Senior Designer – Johnson Diep
Senior Designer – Tiffany Wilson
Group Account Director – Tyson Mahon
Senior Business Director – Thomas Smyth
Senior Integrated Producer – Libby Spark
National Director of Production – Michael Demosthenous

Media – Hearts & Science
Chief Strategy Officer – Kim Dolengowski
Group Business Director – Katie Hailes
Business Director – Declan Peach

Bundy Production Credits

Production Company: Collider 
Managing Partner & Executive Producer: Rachael Ford-Davies
Director: Nash Edgerton
Executive Producer: Tom Slater
Producer: Serena Paull
Production Manager: Celia Tulevski
1st AD: Adam Wareham
Director of Photography: Crighton Bone
Production Designer: Mike Price
Animatronics: Odd Studios
Wardrobe Stylist: Sophie Fletcher
Casting Director: McGregor Casting – Stevie Ray
Post Production: Arc Edit
Post Producer: Olivia Reddy
Editor: Drew Thompson ASE
Colourist: Fergus Rotherham
Online: Richard Lambert
Editor: Drew Thompson ASE
Producer: Olivia Reddy
Colourist: Fergus Rotherham
Online: Richard Lambert
Sound Designer: Damian Waldell (MassiveMusic)
Sound Producer: Alexa Tonkin (MassiveMusic)

Photography Studio: Sam I Am
Photographer – Toby Burrows
Executive Producer – Rich Cole
Senior Producer – Melanie Reardon
Drink Stylist – Jess Johnson

Bundy Bear created by Odd Studio
Design & supervision: Damian Martin
Workshop supervisor: Adam Johansen
3D Sculptor: Colin Ware
Lead fabrication: Phoebe Thompson
Fabrication: Kim Morris
Key animatronics: Greg McKee
Key animatronics: Matt Ward
Animatronics: Phil Young
Lead Fur artist: Katyani Tumahai
Fur artist: Amy Vaughan
Fur artist: Kala Harrison
Fur artist: Emily James
Foam runner: Steve Katz
Mould shop: Luke Brown
Mould shop: Nathan Larsson

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As companies and a lot of agencies scramble to bring employees back to the office in 2025, many of us have chosen a different path – one that embraces remote work as a core part of our culture. 

Forbes reports “a staggering 91% of workers are dissatisfied with the mandate to return to the office, and 73% are searching for new jobs”.  With talent increasingly difficult to retain, agencies that cling to outdated office models risk alienating their workforce.

The stats don’t lie either: productivity hasn’t suffered in remote environments. Stanford professor Nicholas Bloom’s research on remote work found that employees who worked remotely were 13% more productive than their office-based counterparts. 

Not only did they complete more work due to fewer distractions, but their satisfaction increased, and attrition dropped by 50%!

Why Office Working is Failing

Forcing people back into the office isn’t working. The reality is that leadership often doesn’t show up to the office themselves, so why should the staff? Office spaces are becoming ghost towns, void of the vibrant, creative energy they once had. 

The lifestyle benefits of remote work (no commute, reduced costs, more flexible hours) far outweigh the lure of free fruit in the kitchen. Cue this brilliant Asics mental health ad featuring Brian Cox.  

The cost savings associated with remote work are substantial. Both employees and agencies save on the everyday expenses of travel, office lunches, and running physical office spaces. Let’s not forget, many of the companies forcing staff back into the office are contradicting the trends we see on “Great Place to Work” lists – most of these top-ranked workplaces offer flexibility, not mandates.

“We see flexibility as a bridge to fundamentally better ways of working” says Liam Casey, People and Culture Lead at Innocean Australia. 

This type of hybrid framework, Casey explains, works well when paired with trust and strong communication. “We trust our employees to get the job done and deliver great results,” he notes, emphasising that employees feel valued and included when there’s open and regular communication. 

“Communication is also really important. We encourage clear and regular open communication, so that employees feel their opinions are valued and form part of the bigger picture – no two employees are the same and we value this diversity of opinion greatly.”

How Great Place to Work businesses are coming out on top

As Atlassian’s work futurist (yes, that’s his actual job title!) Dominic Price says, companies that stick to rigid office models are missing out. The talent pool for agencies that embrace remote or hybrid work is not only larger but also more diverse, with candidates who value flexibility over a flashy office. 

Look at companies like Shopify that have fully embraced this and have saved on overhead costs while retaining top-tier talent.

For many agencies, a hybrid model might feel like a compromise, but full remote work can open the door to a broader, more talented workforce. I’ve seen first-hand the ability to hire globally or from different regions within a country means agencies can source the best, not just the closest.

Making Remote Work, Work for Your Agency

1. Onboarding and Integration

Onboarding is critical for integrating new employees into the company culture. I’ve seen agencies implement a buddy system– new hires are paired with someone who isn’t their line manager to help them settle in.

Larger agencies might consider running virtual coffee mornings using Donut, a Slack or Teams extension that encourages casual conversations across teams. Atlassian also launched a personal user manual for work to help teams understand how they work together.

2. Leadership and Internal Processes

Leadership becomes trickier in a remote setting, especially when it comes to managing internal processes and motivating staff. Leadership needs to set clear expectations about why tasks matter. Whether it’s business updates, setting business goals, or ensuring a sense of purpose across the team. 

It’s also important to understand how time is being spent across the team, and structure how people spend their time to ensure that even internal projects, like completing timesheets, are given value. 

Agency NoA Ignite and Frankly use tools like TimeJam to help incentivise staff to track time in a fun way on a daily basis.

3. Communication and Collaboration

Clarity is essential in remote communication. “My advice to any agency would be to foster clear, concise communication on expectations and responsibilities” says Innocean Australia’s Casey. 

You need to clearly define which channels to use for what. Sensitive information? Use secure channels. Casual chats? Stick to Slack or Teams. But it’s not just about having the right tools; it’s about giving people opportunities to collaborate – both for work and for fun. 

I don’t force virtual Friday beers with my team, but we do have an annual in-person get-together to connect, collaborate, and, most importantly, have fun. It’s about giving people the option to participate without making it feel mandatory. 

People need to enjoy working together and that trust is key.

4. Work-Life Balance and Wellbeing

A successful remote agency doesn’t just focus on productivity; it fosters a healthy work-life balance by encouraging staff to set boundaries. This isn’t just about offering flexibility; it’s about aligning client expectations with employee well-being. 

Policies like the Right to Disconnect highlight the need for clients to embrace flexibility, ensuring employees maintain balance without sacrificing creativity, which can be stifled by rigid in-office schedules.

Wellness initiatives, whether it’s walking challenges, virtual games like Gartic Phone (a personal favourite!), or simply encouraging time outside are essential to preventing burnout. It’s important to trust your team to get the work done, and that trust is what fuels productivity. Flexible working has to be truly flexible, not just lip service.

“At Innocean Australia, we prioritise our team’s well-being with flexible working policies, meditation and breathwork sessions, and regular mental health seminars,” says Casey. 

“We host internal clothes and book swaps, donating leftover items quarterly to support the community. Our social clubs, including Shoutout Thursdays (a monthly celebration of employee achievements with prizes) help us stay connected, whether in the office or at home. 

We also offer walking, running, and Korean language clubs, giving our team plenty of opportunities to engage, recharge, and foster a supportive workplace culture.”

5. The Talent Pool is Bigger, But So Are the Expectations

One of the undeniable advantages of remote work is the access to a broader talent pool. Agencies are no longer restricted by geography and can tap into a global network of creatives and strategists. 

However, this also raises the bar for what employees expect in return. Flexibility, autonomy, and opportunities for professional development are now the baseline, not the bonus. 

The truth is, hybrid and remote work are far more attractive to employees who value a better work-life balance.

“Remote work thrives when it’s supported with intention, not treated as an afterthought”

I’ve worked with many agencies and it’s not enough to just allow remote work, you need to foster it and nurture it. That means integrating it into your agency’s culture, investing in tools that connect teams, and fostering collaboration and trust. Remote work thrives when it’s supported with intention, not treated as an afterthought.

Agencies that fail to adapt risk losing talent and falling behind. Those that embrace remote work as a core part of their strategy will unlock a stronger, more engaged workforce and lead the future of work in our industry.

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Yahoo has named the 30 emerging leaders chosen to participate in the 2025 Yahoo Academy program from an entry pool of over 180 highly talented media and marketing professionals from across Australia and Singapore.

Now in its 14th year, the program is recognised as a leading talent-building program within the industry, boasting upwards of 400 alumni to date.

The 2025 cohort brings together delegates from companies such as Kinesso, OMD, Initiative, UM and Starcom. Over April 8 and 9 in Sydney, the delegates will participate in a carefully crafted and immersive learning experience designed to equip the group with the skills needed to thrive in a complex, ever-evolving digital landscape.

Industry experts mentoring the program with workshops including:
• Rob Campbell, head of strategy, Colenso BBDO, who will lead sessions across both days aimed at creating marketing  fit for the real-world;
• Simone Gupta, co-founder, Supermassive, who will share her tips on thinking like an earned media guru to gain real cut-through in the modern media landscape;
• Lucio Ribeiro, dounder, Lucio AI, who will provide the latest updates on practical AI tools that can be applied to actually help at work;
• Greg ‘Sparrow’ Graham, dounder, The Nest Consultancy, is a leading pitch expert who will offer his insights on delivering presentations that will cut through.

The two-day program will culminate in a high-stakes Pitch-Off, where participants split into teams to tackle a real business issue for the Australian charity Musicians Making a Difference (MMAD). Participants will be put to the test, applying their learnings while collaborating as a team in this practical, real-world scenario. The winning team will receive an all-expenses-paid trip to a major international marketing conference in May, including flights, accommodation and event tickets.

John McNerney, managing director of Yahoo AUSEA, said: “Every year, Yahoo Academy brings together some of the brightest up-and-coming talent in media and marketing and 2025 is no exception. It’s fantastic to see the calibre of professionals joining this year’s program. We’re proud to be leading an initiative that not only equips the next generation with the tools to thrive, but also empowers them with the skills and confidence to lead. Congratulations to the class of 2025.”

Liz Wigmore, managing director at Hearts & Science Australia, added: “Yahoo Academy is an incredible platform for developing the future leaders of our industry. At Heart & Science, we’re passionate about investing in talent and giving our people opportunities to grow, learn and build meaningful connections. It’s fantastic to see our nominee included in the 2025 program, and we can’t wait to see the fresh perspective he’ll bring back to the team.”

Congratulations to the Yahoo Academy Class of 2025:
• Abigail Legg, Account Manager, Starcom
• Adam Prandalos, Activations Manager, Kinesso
• Alex Mencinsky, Senior Account Manager, OMD
• Ally Zahra, Activations Manager, Kinesso/Initiative
• Avika Bhardwaj, Associate Business Director, Slingshot
• Brian Yak, Senior Account Manager, CPXi Asia
• Darshan Pawani, Performance Manager, Starcom
• Emirza Prabu, Digital Manager, Starcom
• Harry Davies, Performance Manager, Wavemaker
• Hira Ramakrishnan, Senior Activations Manager, Kinesso
• Jessica Phillips, Client Director, Wavemaker
• Julie Maguire, Senior Digital Manager, Zenith
• Maddie Kenna, Digital Media Specialist, BWS (Endeavour Group)
• Maddie Toso, Senior Client Manager, Athyna
• Matthew Varrica, Digital Manager, PHD
• Meaghan Lowth, Performance Manager, OMD
• Meg Anderson, Investment Manager, The Speed Agency
• Natalie Blazevski, Associate Activation Manager, Half Dome
• Pawena Kaniah, Strategist, iProspect
• Ray Hidayat, Programmatic Executive, UM
• Rowan Slade, Associate Client Director, Spark Foundry
• Sanjana Varma, Planning and Trading Manager, Atomic 212
• Shai Stern, Native & Social Campaign Executive, News Corp Australia
• Sophie Wood, Senior Account Manager, OMD
• Spencer Moore, Digital Manager, PHD
• Taylor Bencic, Partnerships Manager, UM
• Thanik Asawasirisilp, Associate Activations Director, Kinesso
• Thomas Makowiak, Media Implementation Manager, Hearts & Science
• Tom Padfield, Integrated Comms Senior Manager, INNOCEAN
• Vrinda Patney, Investment Manager, OMD

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Australia’s premier bi-annual shopping event, Afterpay Day, is set to return with a bold new approach, offering deep discounts and an innovative retail activation designed to engage consumers in a futuristic shopping experience.

Running from Thursday, 20 March, to Sunday, 23 March, Afterpay Day will see up to 70% off from thousands of retailers across travel, tech, fashion, beauty, homewares, and pet accessories. The four-day sale is expected to drive significant consumer spending, positioning itself as a key moment for brands and advertisers looking to capture audiences in an increasingly competitive retail landscape.

A blend of virtual and physical retail

A key component of this year’s Afterpay Day is the “Mystery Market,” an immersive virtual reality (VR) experience. This initiative will offer over 1,000 participants the opportunity to engage with brands in a digital environment. By utilising the Afterpay digital card and a VR headset, participants can access a virtual space to unlock prizes from various Australian retailers. This event aims to demonstrate the integration of technology in retail and explore new avenues for customer engagement.

Prize incentives and retailer participation

The Mystery Market will feature gift vouchers from a selection of retailers. Prizes include travel vouchers from Webjet ($1,000), fashion vouchers from THE ICONIC ($500) and H&M ($100), and sports apparel vouchers from JD Sports ($200). Additional prizes include vouchers from eBay ($250), DoorDash ($100), and Prezzee ($50).

Afterpay’s perspective on retail innovation

Kevin Azzopardi, trade and partner marketing director, ANZ, Afterpay, said: “This Afterpay Day, we’re reimagining retail with an experience that blends technology, innovation and the thrill of discovery. The Mystery Market is more than just a shopping event – it’s a glimpse into the future, where cutting-edge VR transforms the way customers interact with brands.”

Azzopardi also emphasised the company’s focus on creating immersive and shareable experiences, aiming to redefine customer expectations for sales events. The event represents Afterpay’s approach to incorporating emerging technologies into retail promotions.

Accessing the mystery market

Participation in the Mystery Market is on a first-come, first-served basis. Individuals must download the Afterpay app, set up the Afterpay card, and join the queue at Pitt Street Mall (outside ZARA) in Sydney from 8:00 AM AEDT on Thursday, 20 March. Entry is limited to the first 1,000+ people.

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Specsavers has launched a new OOH asset with a refreshed twist on its sight gag.

In this campaign, EssenceMediacom had a ‘Should’ve gone to Specsavers’ moment due to poor eyesight when securing the billboard space for the latest ad campaign.

Located on Ponsonby Road in Auckland, only a fraction of the large-scale billboard is visible to passers-by after a neighbouring building was erected a few years ago.

Although the advertising space has existed for over a decade, the sizable OOH billboard has remained the same since next door built out and up, creating a bit of a joke amongst locals and the wider creative industry.

“While the numbers of potential foot traffic may have looked good on paper, the ‘media buyer’ obviously didn’t see just how much of the ad they’d actually be viewing,” Anri McHugh, head of marketing – awareness and consideration, Specsavers ANZ. said.

The new billboard follows the success of previous OOH campaigns featuring the well-known brand tagline, which have seen media vendors “install” the Specsavers ads upside down on bus sides and digital in centre panels, receiving a lot of attention from the public who were eager to notify the brand of the internally-intended slip ups.

“This latest campaign continues our approach to simple yet effective creative, bringing to life our brand tagline in a fun and humorous way,” McHugh said.

“It’s a gentle reminder to Kiwis of all ages to look after their eye health while also making them smile. The campaign illustrates that no matter what type of work you do, attention to detail and eyesight can make a big difference.”

Chloe Leuschke, managing partner, Mango Communications Aotearoa, added: “After seeing all the great global creative work for the famous ‘Should’ve’ brand tagline, it’s exciting to bring the concept to Aotearoa. We knew this billboard would be perfect for the concept and are excited to see it come to life.”

The billboard can be partially viewed in passing, or in full on foot, at 132 Ponsonby Road from now until end-June 2025.

Credits:
Creative / PR Agency: Mango Communications
Media Agency: EssenceMediacom

Specsavers:
Richard James, Creative Director
David Cross, Finishing Artist + Lead Designer
Jane Hoban, Trading Director ANZ
Shaun Briggs, Director of Marketing Planning ANZ
Goran Majstorovic, Head of Brand Creative ANZ
Anri McHugh, Head of Brand Planning & PR ANZ
Creative Agency: Specsavers Creative

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Fetch TV has announced its foray into interactive entertainment with the launch of Fetch Games, a new product offering 30 free, family-friendly games to its user base.

The initiative, powered by a partnership with Play.Works, aims to expand the platform’s engagement beyond traditional streaming and live TV. This move signifies Fetch TV’s “Fetch 2.0” strategy, focusing on delivering enriched and value-added entertainment experiences to Australian households.

Expanding Fetch TV’s role in the digital home

Fetch TV, established in 2008 in Sydney, has cemented its position as a leading Australian-owned entertainment and in-home media technology platform.

The company’s hybrid RDK and Android Open Source streaming technology, coupled with its user interface and monetisation engine, has garnered global recognition. With backing from major shareholders, including Telstra, Fetch TV is on a trajectory to reach three million Australians by 2030.

The platform boasts significant engagement, with nearly two million unique users and over four hours of daily engagement per household. This launch into gaming represents a strategic evolution, broadening its offerings beyond traditional content aggregation.

The power of Play.Works in CTV gaming

Fetch’s gaming expansion is powered by Play.Works, the world’s largest provider of CTV games and original TV channels. With a portfolio of over 400+ games, Play.Works has successfully merged interactive entertainment with television, engaging audiences with a mix of originals and beloved titles from brands like Atari, Crossy Road, Trivia Crack, and Tetris.

In addition to gaming, Play.Works also operates AVOD and FAST video channels, featuring top content creators such as Jordan Matter, Khaby Lame, and Ninja Kidz TV, ensuring a diverse range of entertainment options for Fetch users. With a reach of over 400 million homes, Play.Works is a leader in bringing gaming to the CTV landscape, aligning perfectly with Fetch TV’s strategy to enhance engagement and audience retention.

Driving audience engagement

Dominic Arena, CEO of Fetch TV, emphasised the strategic importance of the launch, stating: “Fetch Games marks a significant step in the realisation of our ‘Fetch 2.0’ strategy. In our mission to deliver richer, more affordable, and value-added entertainment experiences to Australian families, we are expanding the way customers engage with their TV, beyond traditional streaming and live TV. Fetch Games underscores our commitment to deliver an all-in-one entertainment platform that fosters memorable family moments through engaging, fun-filled experiences.”

What Fetch Games offers consumers and advertisers

The new service provides a diverse range of entertainment options, all accessible at no additional cost to Fetch customers, whether direct or through ISP resellers. The initial offering includes 30 family-friendly games, spanning classic arcade titles to strategic puzzles, designed to cater to a broad spectrum of user preferences.

A key feature is the ease of access; users can play directly with their Fetch TV remote, eliminating the need for additional controllers or installations. The games are seamlessly integrated into the Fetch user interface through a dedicated “Games” section, automatically activated on compatible devices with an active internet connection.

This frictionless experience aims to provide instant entertainment, encouraging engagement and fostering family interaction. Fetch TV has also indicated that the gaming library will continue to expand, bringing a wider variety of high-quality interactive games to Australian homes in the coming months, ensuring ongoing engagement and value for its users.

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Weare8 has shut down its Australian operations and laid of its local staff two years after launching down under.

The platform will be centralising its marketing functions into its London HQ as momentum for the platform continues in the UK, Europe, and the US.

Weare8’s business and app will continue to provide value and support to its Australian brand clients, agencies, communities, publishers, impact partners and Citizens.

As a result of the momentum in the UK, Europe, and the US, we are centralising the marketing functions into our London HQ and will no longer have any full-time employees in Australia. We are very grateful for the amazing work that our team in Australia has done over the last two years.

The app is in discussions with key media partners to accelerate local sales across of its existing and new products, include in-app programmatic ad delivery, in-app CPM feed and our ‘Golden 8’ publisher ad network, that enables 10M+ Australian citizens to watch an ad on Premium Publisher websites, while sharing economics with Publishers and Charities.

Weare8 founder Zoe Kalar (formerly known as Sue Fennessy) said in a statement: “There has never been a more critical time for a social media alternative that protects people from toxic content, unlocks the algorithms so that people can see who they follow and transforms the economics in a way that shares the money from advertisers with people, publishers and charities.

“All the community support programs and media partnerships on WeAre8 will continue and be supported by our central community team.”

Kalar, brought the sustainable social media app to Australia in 2022 alongside Lizzie Young who was tapped as the Australian CEO at the time.

WeAre8 aimed to reshape the social media market by providing a sustainable model that delivers users a hate free platform. Its content feed focused on delivering 8 minutes of mindful media every day, with the aim to reconnect people with the world around them during that time.

After launching in Australia, the app launched in the US with the backing of charities and publishers and media companies Warner Bros. Discovery, PinkNews, The Independent and LADbible Group.

The March 2024, Young stepped down from her role as APAC CEO and global growth officer at WeAre8. At the time, Young cited time zones as her reason for leaving, with her global role seeing her work across Australia, the UK, and the USA.

She has since been appointed to the role of CEO of Commercial Radio & Audio (CRA).

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NOVA Entertainment has announced the return of Nova’s Red Room Global Tour, now powered by Expedia, marking the fifth iteration of the live music brand’s international venture.

The tour, commencing April 28th, will feature performances from prominent international artists across Sydney, Auckland, Los Angeles, and Las Vegas.

The tour launched back in 2014 with four international tours taking place through to 2017. Past performers include Coldplay, Ed Sheeran, Katy Perry, Calvin Harris, Miley Cyrus, Meghan Trainor, and Usher, indicating the scale of talent involved.

The event is positioned as a money-can’t-buy experience, designed to engage audiences through intimate performances and large-scale stadium events.

A select group of Nova listeners will have the opportunity to attend, with Expedia leveraging the tour as a platform to enhance brand visibility through exclusive travel experiences.

NOVA Entertainment’s group programming director, Brendan Taylor, said, “Nova’s Red Room is an iconic brand in the Australian music landscape. Having hosted over 315 artists live in Nova’s Red Room since 2012, we’re so excited to go global again with this world-class artist and location line-up.

“Producing an event of this scale is a huge undertaking, and all made possible thanks to our partner Expedia. It’s set to be an unforgettable listener experience,” he said.

Artists

Nova’s Red Room Global Tour Powered by Expedia will launch with an exclusive Nova’s Red Room event in Sydney on 28 April, with the exciting mystery headliner to be announced in the coming weeks.

Listeners will then travel to Auckland to attend GRAMMY®-nominated singer-songwriter Gracie Abrams‘ The Secret of Us tour in Auckland at Spark Arena.

The next stop on the tour is Los Angeles, as Australia’s own internationally recognised superstar Dean Lewis performs an exclusive and intimate set live in Nova’s Red Room at the iconic House of Blues in Anaheim.

The tour continues to Las Vegas for the final stop, to attend the GRAMMY®-nominated global phenomenon Post Malone’s Big Ass Stadium Tour at Allegiant Stadium, supported by the award-winning, multi-genre artist, Jelly Roll.

Agency

Expedia group senior director, Darren Karshagen, said, “At Expedia, we know music and international concerts are a motivation for many holiday plans, and nothing beats the feeling of seeing a big-name artist while creating travel memories. Expedia is all about unlocking barriers to travel by providing travellers with the right tools and expertise, and we’re excited to partner with NOVA to take listeners on this once-in-a-lifetime adventure.”

Agency partners supporting the Nova’s Red Room Global Tour Powered by Expedia are Publicis Sport and Entertainment Australia, Spark Foundry Australia and White Noise Agency.

NOVA Entertainment’s chief commercial officer, Nicole Bence, said, “At NOVA, connection is our currency. And nothing builds connection like live music. We are a performance medium in the truest sense of the word. And we’re proudly singular in our ability to offer brands a live platform as intimate, premium and exclusive as Nova’s Red Room. There is nothing else like it.”

Ricki-Lee, Tim & Joel

Nova’s national Drive show, Ricki-Lee, Tim & Joel, will be an integral part of Nova’s Red Room Global Tour Powered by Expedia, providing audiences with exclusive coverage from the week-long event.

Hosts Ricki-Lee Coulter, Tim Blackwell, and Joel Creasey will travel alongside the twelve competition winners, attending five artist performances across four cities. As part of the activation, the trio will deliver behind-the-scenes content, artist interviews, and live updates from the tour.

Throughout the week, the group will broadcast from 4pm AEST on weekdays, offering advertisers and brand partners an extended platform to connect with Nova’s audience. The show’s coverage of live performances, artist access, and tour highlights presents an opportunity for cross-platform brand integration, leveraging Nova’s reach across radio, digital, and social media.

Fans can check out previous performances and content from Nova’s Red Room events, as well as this latest Nova’s Red Room performance, via The Nova Player or on Nova’s socials.

Listeners can win their way to this exclusive Nova’s Red Room Global Tour Powered By Expedia by registering via the Nova Player or online at Novafm.com.au.

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Ronald McDonald House Charities South East Queensland (RMHC SEQ) and the Children’s Hospital Foundation has appointed GLOWBORED PR to spearhead and launch a Queensland-first, long-form charitable PR campaign set to roll out through 2025.

The PR and communications agency will lead strategic media engagement, ambassador and influencer outreach, and high-impact storytelling to bring the campaign to life through multiple creative touchpoints in 2025.

The campaign, which will be officially unveiled in the coming months, marks a significant initiative designed to raise awareness, drive participation, and amplify the impact of RMHC SEQ and the Children Hospital Foundation’s vital work supporting families with seriously ill children.

“We are honoured to partner with RMHC SEQ & the Children’s Hospital Foundation, and to have been trusted with such a meaningful initiative,” said Jeremy Hansen, managing director of GLOWBORED PR.

“This campaign is designed to not only raise critical funds but also inspire widespread community engagement through the vital work RMHC SEQ and the Children’s Hospital Foundation supports on a daily basis – we cannot wait to see this brought to market,” Hansen added.

GLOWBORED PR’s appointment further reinforces its position as a leading PR and creative communications agency, with a diverse portfolio that includes SHEIN, GUESS, Rag & Bone, Victoria’s Secret, STYLD, Mitchell Ogilvie, Canali, and more.

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