QMS has acquired the remaining 45.13% of MediaWorks from Oaktree Capital, completing its ownership of the New Zealand media business and drawing industry focus on what comes next.

For the company’s CEO John O’Neill, this acquisition is more than just a consolidation of assets. It represents a new phase of strategic growth aimed at streamlining media offerings across both countries.

But the deal’s announcement has sparked fresh industry speculation around the next step for QMS and its owners, Quadrant.

Could this be the start of a broader consolidation strategy, or is it setting the stage for a future sale? Does the move signal larger ambitions in an increasingly convergent media landscape?

O’Neill, spoke to Mediaweek about the acquisition he sees as both a milestone and a launchpad.

“This is something we were hoping was going to happen for a long time,” he says noting QMS bought a 54.41 per cent stake in MediaWorks in 2019.

“There’s a lot of expertise in both businesses, we’ve learned so much over the last four years with the City of Sydney network. We’ve learned to build quality assets, to build great data sets around those assets and to really appreciate important environments.”

In fact, QMS’s expanded DOOH network in Sydney now has the opportunity to reach over 92% of the city’s population each week, according to MOVE 1.5 data from May 2024, and with the NZ$350 million Auckland Transport outdoor contract up for renewal soon, it’s an opportune time to bring radio into the mix.

‘Radio and outdoor have always gone well together’

“Radio and outdoor have always gone well together. So I think to combine the smarts from the Australian business and the New Zealand business, we can really make it easier for those trans-Tasman clients,” says O’Neill.

MediaWorks boasts a portfolio of ten radio stations including The Rock and More FM, along with 92 digital billboards and over 200 static sites across New Zealand, but it’s had a complex history with private equity ownership.

“Look, they’ve got a good business. It needs to be loved a lot more, and it will be now, make no mistake about that,” says O’Neill. “We’ll get the best out of New Zealand and the best out of Australia, and we’ll sit and work out how to make it easier for the advertising agencies in both to deal with us, whether that be on a trading platform or on a strategic platform.”

Changes ahead

He stresses it’s too early to tell if there will be any structural team changes to the New Zealand business led by Wendy Palmer, but O’Neill’s strategy is simple and has the backing of major stakeholders, QMS chairman Barclay Nettlefold and Quadrant.

“At the end of the day, the whole thing needs to be client focused. That’s where it’s all said and done. We’ve got to build the best assets. We’ve got to make sure that we have the easiest platforms to use and we can provide great solutions for our clients.

“There’s a lot of excitement in our business about this. Barclay Nettlefold has been spending a lot of time in New Zealand and we’ve got great support from Quadrant as well. They’re crunching the numbers and doing the deals, which is really good.

“But for us, it’s focusing on growing and working out how we can work closely with the radio assets down there, and really enhance the assets we’ve got.”

Speculation around ARN, SCA, and Nine

But the big question is obviously with the Australian media landscape in a state of flux, what does this move signal for QMS’s future?

Is a similar acquisition in Australia possibly with ARN or SCA on the cards? O’Neill’s reluctant to be drawn into that discussion.

“That’s probably a conversation you’d have to have with Quadrant, not with me,” he says. “We’ve really been focusing on delivering the results we need to. “

He’s a little less guarded about whether this move makes QMS a more attractive acquisition target, particularly for Nine, if their Domain windfall materialises.

“Well, there’s always speculation,” says O’Neill. “Quadrant have been in the business for a number of years, and as we know, private equity firms generally make decisions to move on.

“But what I can say is Quadrant are very committed. You know, they worked with us through that bloody terrible COVID period. We’ve got a wonderful relationship with Ryan Boers and Chris Hadley and and they love our space. They love where the business is going and they’ve been really supportive the whole way through.

He adds carefully, “With TV networks and radio networks, there’s always discussion and opportunities. And I think if it’s easier for clients to buy it, it would be something that would work really well.

“I don’t really go too much into that speculation, because there’s been so many people talking about it for such a long period of time, so we just have to see what happens. I mean, will Channel Nine sell Domain? Will that happen? I’m not sure.”

MOVE2

One thing O’Neill is confident about is the potential for Ooh and the confidence that will grow as media planners see the scope, particularly with the launch of updated measurement system, MOVE2.

“We’re certainly going to be the platform over the next five to 10 years that probably evolves the most,” he says confidently. “We’ve gone from a from a static environment to 98% digital.

“You can update creative, so we’ve got this wonderful communication platform that I personally think is going to go to the moon. I think it’s incredible.

“I think our challenge in education is to get as much information around accountability, verification, flexibility. It’s a bloody good medium, and it’s going to get even better.”

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The Australian Radio Network (ARN) has named Jenni Lees as director of Integrate by ARN, the network’s newly launched creative solutions unit.

The team brings together experts in strategy, content, experience and creativity to deliver integrated campaigns across ARN’s Audiosphere, building long-term brand partnerships that aim to make brands famous.

A global perspective

Lees returns to Australia after 12 years in senior leadership roles at the UK’s Global Media & Entertainment, where she served as commercial partnership director.

She led large-scale branded campaigns across audio, digital, podcasting, social, and live experiences. Her previous Australian experience includes time at SCA as director of integration and partnerships.

Driving brand fame through innovation

In her role as director of Integrate by ARN, Lees will champion the new team’s efforts to generate impactful ideas that resonate with Australian audiences and elevate brand visibility.

A key focus will be collaborating closely with ARN’s content teams to amplify audience engagement and content-driven innovation.

“Creativity is at the heart of advertising, and massive integrated ideas make brands famous,” said ARN cheif operating officer Michael Stephenson. “Jenni has created those ideas on the world’s biggest stage, now she’ll do it here.”

Lees expressed her enthusiasm for her new role and return to the Australian market, saying that “after working with global brands in the UK, I’m looking forward to bringing that experience home and creating big, integrated ideas that work for Australian audiences.”

She further elaborated on the team’s mission, stating, “Integrate by ARN will be focused on developing creative solutions that make brands famous and deliver impactful results.”

Lees commenced her role with ARN today.

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Entries for Mediaweek’s Next of the Best 2025 are now open.

These annual awards celebrate the rising stars and trailblazers shaping the Australian media landscape, by recognising emerging leaders in the advertising, media, and marketing industries.

There is no age limit as these awards are open to those who have worked in their current profession for 15 years or less, recognising people who are making significant impact through contributions to their company, sector, and the wider industry.

But what’s it like to win and what happens next?

Here’s what just a few of the past winners have to say a year on from their win.

Henry Innis, Next of the Best Leadership Award

“It’s always nice, particularly when you’re slogging through business, to kind of take a moment to reflect on where you’ve gone, what you’re doing, the team and the people around you as well, which always makes a huge difference to these things.

“No-one will back you if you don’t back yourself. These awards show people that belief exists – and why you’re worth backing. They help codify your value and attract great people. I have no doubt that one reason we’ve built one of the best teams in the country is because we’ve been clear about who we are and what we stand for.”

Andie Potter, AdTech Award
“The whole vibe of the night is exciting, you’re surrounded by brilliant people. When they called my name, I was shocked. You sort of blank out in the moment. Later, you reflect on what it means and what you’ve gone through to get there. It’s a reward for all the hard work and personal sacrifice.

Did I prepare a speech? On the night – which does feel like our industry’s version of the Oscars – I quickly jotted some notes in my phone, just in case. I didn’t want to get up there and have nothing to say.”

Emily Cook, Next of the Best Culture Award

“I was privileged to win the Culture category at Next of the Best last year, and I have to say – it was an excellent night. I had an awesome time at the awards, it was also just a really nice night to connect across the industry.

“What I loved most was that everyone had the opportunity to be heard, to give a speech, and to thank the people who support them. Because let’s be real – most of us are a product of the people and environment around us. If someone has tapped you on the shoulder and said, “You should enter,” that means they see you. So own it. You’ve got a story worth sharing.”

Kieran Simpson, Next of the Best Social Media Specialist

“It was a great night for building connections that actually lasted.

“If you go to work every day and you’re proud of what you do, that’s enough. Even if you don’t win, meeting people in your industry is invaluable. You realise you’re not the only one facing challenges, and those conversations help you feel seen. It’s worth it for that alone.”

ENTER THE AWARDS HERE

This year, there are 15 awards.

Audio Talent (Host, Producer, Creator)
Recognising standout voices or producers driving growth, innovation, and engagement in the audio and podcasting industries.

Marketing Talent
For marketing professionals who have made a significant impact in their roles, working to drive successful campaigns with measurable results.

Marketing Strategy
Celebrating talented marketing strategists who have built and executed data-driven strategies leading to measurable business outcomes.

Journalist (Digital/Print/TV)
Recognising journalists who have demonstrated exceptional talent and excelled in their craft, making an impact through one or several stories.

Advertising Creative
For talented advertising creatives who have demonstrated exceptional creativity and achieved measurable success through one or more campaigns.

Digital Content Creator & Influencer
For content creators or influencers who have made a significant impact across digital platforms by demonstrating impressive growth in followers, engagement, or revenue with their own creativity and business acumen.

Publicist (Agency/In-House)
For publicists who have excelled in crafting and executing PR campaigns and garnered significant media traction.

AdTech Specialist
Talented AdTech experts who are driving innovation, efficiency, and effectiveness through data-driven solutions.

Media Salesperson
For media sales professionals who are driving revenue growth through strategic thinking, creativity, and strong client relationships.

Media Planner and Buyer
Recognising emerging talent in media planning and buying and shaping the future of media strategy through innovative thinking, data-driven decision-making, and impactful campaign execution.

Publishing Innovator
For editors, publishers and writers who have demonstrated exceptional innovation in the publishing industry. From cutting-edge publishing models to new digital strategies, these are the change-makers who have significantly impacted their business.

TV and Film Production Talent
Recognising talent behind the camera in content production, from big to small screen, through creativity and commercial success.

Data & Research Specialist
Recognising experts who excel in the use of data and research to drive decision-making, insights, and innovation within the media industry.

Change Maker
For individuals who are driving meaningful change within the media industry, whether through disruptive innovation, cultural transformation, or leadership that inspires progress.

Leadership
For exceptional leadership and impact at senior or executive level within the media industry.

The awards will be presented on Friday, 13 June at W Sydney with an unforgettable evening. For more details and to buy tickets, head here. 

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NBCUniversal International Networks & Direct-to-Consumer (NBCUIN & DTC) has elevated long-time executive Caroline Cleland to the newly created role of Vice President, Asia Pacific. This move sharpens the business’s strategic focus across linear and direct-to-consumer platforms in the region.

Cleland, who joined NBCUniversal in 2008, will now lead the operational and strategic direction of NBCUIN & DTC’s portfolio across Asia Pacific. Her remit spans Programming, Acquisitions, Commercial, Marketing, Creative and Production, with a continued emphasis on growing revenue, audience engagement, and brand presence. She remains based in the Sydney office and will report to Chris Taylor, who recently stepped into an expanded role as managing director of APAC, TV Distribution and International Networks & DTC.

The appointment reflects NBCU’s ongoing investment in leadership across the Asia Pacific region, as the business accelerates its multi-platform strategy.

“Caroline has been instrumental in shaping the content and channel strategy for NBCUniversal across APAC for well over a decade,” said Taylor. “This new role recognises her impact and positions us strongly for continued growth in both linear and digital spaces.”

Cleland has played a key role in launching and evolving NBCU’s channel brands across the region, including 13TH STREET, SYFY, Universal TV, and the free-to-air launch of Bravo in New Zealand. More recently, she spearheaded the regional rollouts of DreamWorks (Australia), 7Bravo (Australia), and the Peacock-branded Hub on JioStar India. In 2023, she led the launch of Studio Universal, a curated linear and SVOD movie offering, which debuted in the Philippines and has since expanded into Taiwan and Indonesia.

Prior to joining NBCUniversal, Cleland held programming roles at Optus Television, Movie Network, and Crown Media.

As part of broader leadership moves, Taylor also announced two additional promotions:

• Simon Hebblewhite has been named senior director, Finance, where he will continue driving strategic growth and revenue performance.

• Jane McLaren has been promoted to director, PR and Communications, tasked with shaping NBCUniversal’s corporate and consumer communications strategy across the region.

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Havas Australia has identified a profound shift in the nation’s values and needs and that marketers and brands should take note of as they approach consumers in its newly released Havas Labs 2025 Aussie Futures report.

Mitchell Long, chief strategy officer of Havas Media Network Australia, told Mediaweek the report is more than commentary on the nation but how marketers can apply the findings to their products and business, and how they can engage with customers in a deep and meaningful way as their needs shift and evolve.

“That’s how we’ll be taking it moving forward with different clients,” he noted of the agency’s path in light of the report.

Long said that the report shows that people are optimistic about the direction of their personal lives more than the direction of the country. He said: “The main thing that underpins the shift of ‘mateship’ to ‘me-ship’ is we’ve had five years of turmoil, people are scared, people are feeling the impact of the cost-of-living crisis more than ever before, and a heightened sense of uncertainty.”

The survey of more than 2,000 Australians, conducted by YouGov, builds on the foundations of the agency’s 2022 Aussie Values study.

Long also said that the newly released Aussie Futures report was a combined effort of the Havas village of agencies. He said: “It isn’t just about creative or message or media alone. It’s a full-marketing approach to how to tackle these needs.

“People are looking for brands to be more practical, more transparent, more action-oriented, more authentically linked with the product and service they sell, with their role in society and the world at large. I think that requires a holistic marketing effort behind it,” he added.

The seismic shift from ‘mateship’ to ‘me-ship’

In 2022, the Havas Aussie values study found that 58% of Australians said ‘mateship’ was an important value. However, the new Aussie Futures report shows 54% of Australians are now more invested in their personal futures while 34% are optimistic about the future of the nation.  

“I think because there’s so many things we’re worried about that we can’t control in the world right now, Australians are thinking what can I do with my own two hands and two feet to get ahead, to get by.”

He also noted that the report found there is less of a sense of community with 23.7% of Australians indicating that community is no longer seen as a national priority. “We have seen trending over time, this rise of self-agency, individualism, charting my own path and making my own way,” Long said.

From a strategist’s point of view, Long said the shift from “mateship” to “me-ship” has big implications for how brands need to show up.

“Havas, we are all about helping brands create a meaningful difference in the world for consumers and the planet. I think to do that, you need to understand what people need, and what they want. In a climate right now where people are taking the direction of their lives into their own hands, it means that they want brands to get a lot more practical.”

He explained Australians need brands to be more supportive and play a “practical and hands-on” role in the day-to-day lives of Australians.

Meet the six segmentations

From this, the agency created segmentations based on the six core needs defining Australians right now – Support Seekers, Caring Connectors, Aspiring Altruists, Enjoyment Explorers, Progress Pioneers and Status Seekers – which Long said have “big implications of how brands need to cater to those needs.”

For Support Seekers, the report noted that 86% of them said the cost of living is the biggest challenge for them to achieve their financial aspirations and want brands to prioritise making things affordable and accessible to them.

Meanwhile, for Progress Pioneers, sustainability was highlighted as a priority for them and want brands that help fight environmental degradation.

“We haven’t had consistent policy on the environment, which means there’s even more demand for brands to step in and play a meaningful role.

“People are using their purchasing power to try and influence that in a way that they can with their wallets.”

A divided Australia

Should brands use this data and the six segmentations to position themselves as a specific solution to what those profiles need or take a broad, altruistic approach?

Long said: “I think it’s a bit of both, depending on the portion of the population you’re talking to.

“It’s not a one-size-fits-all view of Australia anymore. What we’re seeing is the divide between different groups of Australians is growing between people who have and people who have not.

“People who want to have a very outward-facing view of the world and they want to create positive change in the world, versus some people are just about their immediate family and their immediate lives and how they can enjoy that.”

He noted that it means there’s a practical offer for brands, but there’s also a meaningful role for brands to entertain people and bring joy to their lives.

“Some of us forget that in marketing we’re a force for entertainment and joy, for positivity in the world and positively shaping culture.”

Shifting needs, brand appeal and meaningful connections

For marketers and brands looking at how to implement the findings from the 2025 Aussie Futures report, Long highlighted three points to consider, starting with “understand your audience and the landscape and their shifting needs.”

He noted that the three-year gap between the 2022 Aussie Values and Aussie Futures reports is how quickly things can shift in a short space of time and how a lot of things happen.

Long added that marketers should consider what their brand appeals to. He said: “Sometimes it might be obvious for brands in categories but it’s worth considering ones you may not have thought about as it helps open up new opportunities for how brands can stand out from their competitors and tap into needs that are unmet in that category.

Round his key points, Long said brands should workshop and consider how to create a deeper meaningful connection with Australians based on the needs of those segments.

“For each of the segments we have a playbook that has comms principles which can broadly be applied in a workshop for clients to understand how to thread that through messaging, how they show up in media and how that authentically links to the product and business as a whole.”

Predictions on the next big shift

The rapid changes in the news cycle and world events highlight uncertainty. For Long, he noted that it makes it difficult to predict what the next big shift will be.

However, he believes in the continued trend of self-agency. “I think people are just trying to get on with their lives and think what can I do for myself because they recognise, they can’t rely on big institutions and governments to create dramatic change in their lives.”

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By Alex Brooks, founder of Content Renegade

I like to joke that being a journalist is a bit like being a blacksmith – a skill struggling for relevance in an automated world of content abundance, algorithmic overlords and technology disruption.

But people still need stories, just as horses still need horseshoes.

Media was never a career for those seeking stability. I’ve had seven redundancy payouts – that’s more than the number of cars I’ve owned and way more than husbands I’ve had (two) and children I’ve raised (two).

I’m good at being less relevant. I have turned 50, which may as well be 100 in media years.  (Though if someone else sends me a link to  this miserable New York Times article about the death of creative careers, I will scream).

When stories strike, they strike people like me hard. I can’t ever stop asking questions. I can’t stop trying to make sense of the incomprehensible and join the dots into some sort of narrative.

When my 23-year-old son Louis bought his first apartment for $365,000 last year, I was proud of his achievement. As a former property journalist and author (whose books have now been used to train artificial intelligence models), I knew this was a great step towards future financial security.

Until it wasn’t.

Louis lost $109,350 transferring money for settlement to a fake Property Exchange Australia (PEXA) bank account that his bank not only enabled, but now charges him an extra $600 a month interest on.

I literally couldn’t believe banks didn’t recall the money and give it back. I had no idea this could even happen in first world Australia, where our banks worked hard to rebuild trust after the Hayne Royal Commission exposed them for charging dead people (ahem, that’s stealing) and preying on vulnerable customers (that’s fraud).

I asked enough questions to discover that Louis’ experience was far from unique – other Australian home buyers were losing money on banking platforms due to shady mule bank accounts, widespread identity breaches and money laundering. In Australia, scam victims ‘authorise’ their own loss thanks to the ePayments Code, developed in the 2000s when no-one imagined how widespread cybercrime would become.

I had no idea that Australian law allows banks to pay someone $500 or $1000 to ‘remediate’ customers for losing hundreds of thousands of dollars. It’s basically legal for banks to take profits from crime committed on their platforms.

‘I thought this was a big story’

I thought this was a big story. But when I went to pitch it to the media, the response was lukewarm at best. In an era where engagement trumps enlightenment, telling complex stories about legal grey areas is nearly impossible.

A story that I believed would have been jumped on ten years ago as an exclusive now took me endless phone calls and emails to get up. Editors would initially agree to commission, but then:

1. Tell me their freelance budget had been cut to nothing, so the story couldn’t go ahead. Boo.

2. Another editor agreed to publish it, but was made redundant the day before the story was due to be published. Double boo.

3. I then made more phone calls that finally secured publication, and provided more than 15 verification documents to prove the story was indeed factually correct. Yay for truth and accuracy.

But one story wasn’t enough to tell the truth of what was really happening in our banking system.

Last weekend’s cyberattacks on Australian superannuation were hopefully one more proof point that we live in an age where the enshittification of the internet has spread from media to digital banking and financial platforms, too.

I couldn’t look away and let what has happened to my son and the 35 other financial crime victims I’ve since interviewed go untold.  So I’ve told the story myself.

If this new world order only lets me tell stories to hundreds of people, rather than the hundreds of thousands that my career in media enabled, then so be it.

For me, it’s still all about a story worth telling. The ‘paying attention’ part is out of my control. And I’m OK with that.

Alex Brooks has created Daylight Robbery: The Untold Story of Digital Bank Robbery available on Spotify, Apple and YoutTube. 

Connecting Plots has expanded its offering with integrated comms offering and appointed seasoned PR and communications specialist Katie Eastment to the newly created role of head of PR.

Eastment brings over a decade of experience to the role and joins the agency from The IMPACT Agency where she was head of consumer and most recently group account director. In her time there, she worked across a diverse range of clients including Nestlé, Modibodi, Connect Hearing, Solahart, and The Growth Faculty.

She is known for her results-driven approach and passion for integrated thinking, and thrives on developing creative solutions that span earned, influencer, events, and partnerships – with some of her most memorable projects coming from campaigns that broke the mould of traditional PR.

“In today’s world, brands can’t just buy attention, they have to earn it.” Tom Phillips, CEO and co-founder at Connecting Plots, said.

“Now more than ever – brands need stories that hit different, connecting seamlessly across everything they do, and shape how a brand is felt, not just seen. More and more of our clients have been asking us to carry our earned creative thinking into PR.

“Katie’s energy, smarts and experience will be instrumental as we introduce Connecting Plots PR, adding new layers to our creative and comms toolkit that take our clients’ brands to new heights in innovative ways.”

Eastman said of her new role: “I’m excited to be joining Connecting Plots at such a pivotal time. What really drew me to the agency was their passion for insight-led, integrated thinking and creating work that genuinely earns attention.

“I’m looking forward to building the agency’s earned capability and helping clients find creative ways to tell stories and stretch their budgets further.”

Eastment’s appointment marks a significant milestone for Connecting Plots as the agency continues to expand this integrated offering, providing clients with a seamless blend of creative, media, social, production and now earned solutions.

Top image: Katie Eastment

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oOh!media unveiled an enhanced approach for advertisers and agencies to connect with Out of Home audiences at scale during the leadership team’s national tour.

Mark Fairhurst, chief revenue officer, and Cathy O’Connor, CEO, shared the updates with senior marketers and agency leaders on the tour

Among the new initiatives shared by the outdoor advertising and media company with key advertising partners include simplified modular planning investment levels which align with campaign objectives.

oOh! have also curated over 30 data informed inventory pools so clients can optimise their campaigns to achieve better targeting and greater campaign outcomes.

Through oOh!’s OOH partnerships with Coles360 and Westpac DataX, oOh! has enabled smarter campaign activation and measurement, allowing advertisers to choose their objectives – reach, proximity, point of interest, premium, or high impact – and select their audience and investment size to seamlessly transact for maximum effectiveness.

The importance of creativity was also emphasised, backed by research from Analytic Partners, which shows that 41% of campaign effectiveness can be attributed to creative.

oOh!’s creative and innovation hub, POLY, has analysed almost 200 creative campaigns and transaction-based outcome studies to draw a line between creative attributes such as logo size, context, use of full motion, word count by format and interplay between OOH and other media, with what drives actual results at the register.

The measurable distinction between claimed recall and attributable uplift in campaign performance is a world first and aims at driving greater cut through and campaign performance for brands.

Making brands unmissable across the country

Fairhurst said: “It’s been a great opportunity to catch up with senior marketers and agency leaders around the country, listen to their needs and share the exciting changes happening at oOh!.

“There is real momentum within the business, with new, high-impact and premium assets being added to our network, new streamlined processes in place to accelerate more efficient and timely responses and an experienced, engaged sales team that’s ready to achieve the right strategic Out of Home solutions to make brands unmissable.”

O’Connor added: “As Australia’s number one Out of Home company, we’re focused on making it simpler, faster, and smarter for brands to access our growing scale, formats and data-driven capabilities.

“The conversations with senior advertising executives have reinforced the role Out of Home plays in today’s media mix, and we look forward to working more closely with our partners to drive results in new and innovative ways.

“We continue to invest in energising our go to market and unlocking the full potential of our network. oOh! is setting the stage for a new era where data, technology, and creativity come together to give even greater returns for advertisers.”

Top image: Mark Fairhurst, Cathy O’Connor and Chris Roberts

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The Seven Network has inked an exclusive media rights deal with Commonwealth Sport to become the official Australian broadcast partner for the next two Commonwealth Games Glasgow 2026 and the yet-to-be-confirmed host of the 2030 edition.

The agreement spans broadcast, digital, connected TV, subscription services, radio and social platforms, ensuring the Games will be live and free for all Australians via Seven and 7plus.

Glasgow gears up for global showcase

With more than 3,000 athletes from up to 74 nations and territories competing across 10 sports, including record-setting Para sport events, the deal represents a significant play for Seven’s sport and advertising strategy.

“Sport is part of Seven’s DNA,” said Seven West Media (SWM) CEO Jeff Howard, citing the Games as a complement to Seven’s stacked 2026 slate that includes AFL, cricket, NFL and LIV Golf.

Seven’s commercial director of sport, Renee Quirk, said the partnership “reflects our commitment to giving all Australians access to the biggest and best sport, for free.”

‘A privilege to bring it home’

Broadcast icon Bruce McAvaney called the event “spine-tingling”, evoking memories of Aussie sporting legends and highlighting the Games’ emotional resonance with audiences.

“Since we first competed in the Games almost 100 years ago, this event has been near and dear to Australians.

“Superstars have emerged: a 16-year-old Cathy Freeman and Hayley Lewis, just 15, at the 1990 Games in Auckland.

We witnessed Raelene Boyle’s awesome swansong in Brisbane and shared the emotion as Kerryn McCann won the marathon at the MCG in 2006. It was spine-tingling to watch Oli Hoare run down two world champions to win the 1500m in Birmingham,” he said.

Meanwhile, Commonwealth sport CEO Katie Sadleir said the deal affirms the value of a “reimagined Games model” for a sustainable sporting future.

“Seven’s long-term commitment shows the belief our valued commercial partners have in our reimagined Games model, with Glasgow 2026 a bridge to the Games of tomorrow, an important first step in our journey to reimagine and redefine the Games as a truly collaborative, flexible and sustainable model for the future; one that minimises costs, reduces the environmental footprint, and enhances social impact.”

Phil Batty OBE, chief executive of Glasgow 2026 Commonwealth Games, also welcomed Seven on board.

“We are absolutely delighted to welcome Seven to Glasgow 2026 as the official Australian broadcast partner. As a longstanding partner of the Games, their commitment to 2026 and 2030 demonstrates the renewed importance of the Games globally to spectators and athletes.

“Working with Seven, this is an incredible platform to showcase Glasgow 2026, Scotland and world-class sport,” he said.

While Ben Houston, president of commonwealth games Australia, acknowledged the value of the continued partnership, saying “we are delighted that Seven will be the Australian broadcast partner for Glasgow 2026 and the 2030 Commonwealth Games”.

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This week’s Meeting of the Minds brings together Vanessa Winley and Stephanie Higson, sisters from Publicis Groupe’s Spark Foundry. The siblings reveal their leadership heroes, current streaming binge, and career goals.

This special edition of the Mediaweek series showcases diverse perspectives, thoughts and opinions by bringing together two different points of view from an industry rookie and an experienced expert.

Vanessa Winley, group activation director, and Stephanie Higson, associate activation director

Favorite memory with your sister:

Vanessa: Watching her beam with pride when my niece, Jacinta, walked onto the stage at her first dance concert. It was a small step for Jacinta, but a huge step for Stephanie to help her perform in front of hundreds of unfamiliar faces.

Stephanie: Likewise, hanging out with her and my kids. She’s such a great aunty!

Why did you join the industry, and what role did your sister play in that?

Vanessa: The industry’s vibrant and dynamic nature, especially at Spark Foundry, captivated me. I was unable to resist the offer of an ever-changing environment and the chance to work alongside fantastic colleagues.

Stephanie: Vanessa is the reason that I work in media. She spoke so highly of the industry that I applied for a role at a media agency and never looked back!

Who’s the more ‘corporate’ sister, and who’s the creative rebel?

Vanessa: Stephanie is beyond reliable – conscientious, organised, and process-driven. She’s a powerhouse of consistency!

Stephanie: Vanessa is certainly the creative sister. She constantly amazes me with the creative integration ideas she comes up with!

Do you ever team up on projects? What’s that dynamic like?

Vanessa: Yes, we’ve collaborated a couple of times and we’ve had a giggle or two. We know each other inside and out, which allows us to bring out the best in each other in any situation.

Stephanie: It feels normal to us. We just get down to business!

What’s the biggest perk — or challenge — of working with your sister?

Vanessa: The perk is car trips and coffee on the way to work. She has four children, all in different schools. So, I’m grateful for the time we get to spend together.

Stephanie: I love that we get to catch up every day over lunch together.

Have you ever disagreed at work? How do you handle that as both sisters and colleagues?

Stephanie: We don’t tend to disagree.

Vanessa: In general, though, at Spark we have a ‘good humans’ mantra. Any disagreement is always conducted respectfully, collaboratively, and constructively, regardless of who you are.

Do you talk about work when you’re off the clock, or do you have a ‘no work talk’ rule at family dinners?

Vanessa: She’s my support for everything in life. If I need to talk to her about anything I will, and vice versa.

Stephanie: We do sometimes talk about work, but that’s mainly because we are so passionate about what we do!

Misconception about your role:

Vanessa: People often assume that my role is limited to just investment, but it actually involves a lot of strategic decision-making and creative problem-solving.

Stephanie: That my role is on the creative side, when it’s much more about crunching the numbers.

How has the industry changed/evolved?

Stephanie: The industry has certainly evolved with the integration of digital technologies, becoming more dynamic and fast-paced. There is now a greater emphasis on data-driven decision-making and customer engagement through multiple channels.

Best career advice:

Vanessa: Keep growing—keep going!

Stephanie: Always be yourself!

Leadership hero:

Vanessa: I’m spoilt for choice with the calibre of leaders at Spark Foundry. The entire management team inspires me, particularly Lucie (Jansen) and Sue Ellen (Osborn) who are always willing to listen and provide encouragement.

Stephanie: Agreed! I love that there are so many amazing women in leadership here at Spark. Really, all of them are inspiring.

What is your hot take on the industry?

Vanessa: The industry is at a pivotal point where ethical practices will become as crucial as profitability. Companies that prioritise these will lead the market.

Career goal for 2025:

Vanessa: Continue to grow and learn while embracing the wonderful culture I am privileged to be a part of every day when I turn up at work.

Stephanie: Ditto!

–

To take part in future editions of Meeting of the Minds, please email: [email protected]

Past editions of Meeting of the Minds.

–

Top image: Vanessa Winley and Stephanie Higson

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Leo Australia has appointed Magda Triantafyllidis as chief client partner and Philip Hwang as transformation director, strengthening the agency’s commitment to client transformation and the strategic growth of the business.

Triantafyllidis joins as chief client partner for financial services client ANZ, bringing over 20+ years of experience in client leadership and strategic campaign and brand development, most recently as managing director at Hardhat.

Throughout her career, she has driven client success across various industries, including automotive, retail, government and higher education.

Her expertise in building strong client relationships, driving creative excellence, and leading cross-functional teams will be instrumental in delivering impactful, effective work for the ANZ partnership, which the agency won late last year.

Triantafyllidis will partner with newly appointed executive creative director Hilary Badger and general manager Julia Sheehan to complete the leadership team in Leo Melbourne.

Triantafyllidis said of her new role: “I am beyond thrilled to join Leo Australia –  a network and agency that not only champions bold, creative solutions but also has its DNA stepped in an understanding of the power of human behaviour in driving meaningful, lasting impact. I couldn’t be happier joining this purposeful and innovative team, and partnering with the incredible brand and brilliant minds behind ANZ.”

Meanwhile, Hwang has been appointed to the newly created role of transformation director and will lead initiatives that drive growth and innovation for Leo Australia’s clients, including the consolidated Suncorp Group portfolio.

He will work closely with chief strategy officer, Catherine King, and Publicis Groupe ANZ’s chief data officer, Maurice Riley, ensuring the agency remains at the cutting edge of creative and digital transformation and leveraging the Groupe’s connected capabilities to keep agency partners a step ahead.

Previously APAC head of strategy at SGK, Hwang is a multi-disciplinary strategist, experienced in solving complex business challenges with a blend of creativity, innovation, data and storytelling. He has worked across Asia Pacific, including Taiwan, Shanghai and Australia.

‘We are in the business of reinvention’

Clare Pickens, CEO of Leo Australia, said: “At Leo Australia, we are in the business of reinvention. Our team is always looking at ways to adapt, shift and evolve using curiosity and creative problem-solving to uncover unmet needs and unlock commercial success for our clients.

“These latest appointments and additions to our leadership team are a testament to this commitment. Magda Triantafyllidis brings ambition and extensive client experience, while Philip Hwang will be integral to ensuring that we are at the forefront of creative and business transformation. I’m excited for the year ahead with our new team members.”

Top image: Magda Triantafyllidis and Philip Hwang

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L’Oréal has appointed WPP Beauty Tech Labs as its advocacy and influencer agency across Australia and New Zealand.

WPP Beauty Tech Labs was created to consolidate L’Oréal’s influencer activity, and how its brands engage with influencers and creators across all 32 of its brands, including CeraVe, La Roche-Posay, L’Oréal Paris, Kiehl’s, YSL, Lancôme, NYX, Maybelline, Redken, under one agency.

L’Oréal Groupe’s mission is to create the beauty that moves the world and offer each and every person it works with the best of beauty and to fulfil the unique beauty needs and aspirations of all consumers.

WPP Beauty Tech Labs leverages the best talent, technology, and expertise from across the WPP network bringing together the best capabilities from Wavemaker, GroupM and Ogilvy PR, to deliver that promise.

The WPP Beauty Tech Labs team will oversee full-service influencer management, ensuring greater consistency, strengthened governance and compliance, and empowering L’Oréal’s brands to focus on strategic brand building. By leveraging WPP Beauty Tech Labs’ expertise and fresh perspectives, L’Oréal Groupe aims to further build trust and foster meaningful conversations between consumers and its brands.

The team is dedicated to driving influence with purpose, ensuring that influencer and advocacy strategies deliver real business impact through real people. They will work closely with local talent agents, influencers, social platforms, and industry bodies ensuring seamless integration and measurable impact across all L’Oréal brands.

“This collaboration with WPP is dedicated to driving innovation, transformation, and excellence in the content and advocacy space,” Georgia Hack, chief digital and marketing officer, L’Oréal ANZ, said.

“Under this partnership, WPP Beauty Tech Labs will go beyond day-to-day brand activities, streamlining operations, enhancing brand strategies, and providing valuable industry insights. It will also enable L’Oréal to scale its influencer marketing activity, tapping into new markets, connecting with diverse communities in more meaningful ways, and strengthening its position as a leader in the beauty industry.”

GroupM Australia and New Zealand CEO Aimee Buchanan, said: “Wavemaker has worked on the L’Oreal media business since 2021, and we are thrilled to expand our remit with them into the fast-growing world of influencer marketing. WPP Beauty Tech Labs is designed to connect L’Oreal’s impressive suite of brands with audiences in authentic and relevant environments.

“Our technology-driven approach, combined with the expertise of our team, a holistic view on the overall media strategy will provide unparalleled opportunities for influencers, creators and talent agents to collaborate with L’Oréal’s iconic brands across the region.”

The appointment represents a significant step towards achieving L’Oréal’s goals of driving innovation, fostering meaning conversations, and expanding its share of influencer in the beauty space.

Additionally, it cements Wavemaker and WPP’s position as a leader in influencer marketing and brand advocacy, building on the group’s extensive expertise in 10 existing L’Oréal markets worldwide in the SAPMENA region (South Asia Pacific, Middle East & North Africa).

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The Do Collective has appointed Nathan Quailey as its new managing director.

In the newly created role, Quailey will report to The Do Collective’s founder and director, Ben Walker, playing a pivotal leadership role in steering the agency’s strategic direction, commercial performance and creative impact.

Quailey, who will be based at the agency’s Sydney office, will be oversee nurturing the culture and empowering the team to deliver brave and effective work as the primary custodian of the full-service creative agency’s unique philosophy centred on what brands do, not just what they say,

He brings more than 30 years’ experience in brand growth and strategic leadership to The Do Collective, having led teams and client strategy for a range of household name brands including KFC, Vodafone, Coca Cola, Hyundai and ING, among others.

Quailey also held non-executive director roles at Close to Home Media and health-focused food company, Forbidden Foods, focusing on driving growth across the businesses.

Prior to this, he spent nearly 15 years at Ogilvy Australia, where he was a key member of the agency’s leadership team, working in the Chief Growth Officer, General Manager and Business Director roles.

Walker, said: “It’s a real coup for us to have someone of Nathan’s expertise, strategic mindset and commitment to results among The Do Collective’s leadership team. He brings a wealth of marketing and agency experience to our clients, along with a track record for leading high- performing teams.

“Nathan’s appointment is a critical part of our growth plans for the coming year, particularly our expansion globally, enabling us to offer an enhanced service for our existing clients, while also supporting new business opportunities.”

Quailey said of his appointment: “I’m pretty excited to be joining Ben, [Head of Experiential] Corey [Clarke} and The Do Collective team at such a pivotal time for the business. My experience over so many years in this industry lies in helping organisations build profile and team culture that leads to growth and forging strategic alliances that drive success.

“The independent agency scene at the moment is thriving, so I’m looking forward to bringing my experience, passion and my client-focused leadership style to The Do Collective to help guide our growth.”

Since its 2022 inception, The Do Collective has quickly grown to become a global, full-service agency, working with a range of clients including Maxwell & Williams, BlueScope, QV Skincare and Clipsal, among others.

In February, The Do Collective announced further expansion beyond its Sydney, Melbourne and London offices, launching in Dubai and appointing senior marketing executive, Ginny Jackson, as its new general manager in the region.

Top image: Nathan Quailey

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Mediaweek’s Media Movers charts the biggest people moves in the industry over the past week.

Ben McCallum will exit UM Sydney after three years as the agency’s managing director.

His departure comes as the agency confirmed to Mediaweek in a statement that the role of managing director, Sydney, has been made redundant “to suit the changing needs of business and position the agency for growth.”

McCallum will leave the agency effective 17 April.

Anathea Ruys, CEO UM Australia said McCallum was a respected member of UM’s team who has always provided valuable counsel to his clients and commitment to the business during his tenure.

She also thanked McCallum for his energy, passion and contribution to the role and wished him all the very best for his future.

EssenceMediacom Australia has appointed Maddison Keogh as APAC client managing partner for Uber.

She will lead one of the GroupM agency’s most exciting and dynamic relationships across the APAC region and to continue to elevate client leadership.

The appointment comes after EssenceMediacom was reappointed by Uber in 2024, when the Australian agency took on an expanded remit working across the APAC region.

Droga5 ANZ, part of Accenture Song, has appointed Kit Lansdell as head of effectiveness.

Lansdell brings 25 years of experience to the role across top advertising agencies in Australia and the UK —including The Monkeys (now Droga5), Clemenger BBDO, Leagas Delaney, and Grey London.

He has shaped strategy for some of the world’s most iconic brands. His portfolio spans industries as diverse as sports, financial services, automotive and food.

Australian Radio Network (ARN) has appointed Richard Hunwick as its new director of sales – total audio. Starting 14 April, Hunwick will take charge of ARN’s national sales team, overseeing revenue across metro, regional and digital audio platforms.

Hunwick’s tenure at ARN begins following a strong career in sales.

He spent over a decade as director of sales – total television at Nine Entertainment Co., where he led the company to record-breaking revenue and five consecutive wins as sales team of the year.

Most recently, he served as chief commercial officer at Adgile, where he championed the performance impact of traditional media through advanced attribution tools.

Omnicom Media Group Australia has promoted Marelle Salib to chief media partnerships officer, replacing Kristiaan Kroon following his promotion to chief operating officer.

In this role, she will oversee media partnerships and trading and accountability for the Group. During her 14 years with the media agency, Salib forged strong media partnerships that have consistently driven remarkable results for its clients.

OMD Australia has also promoted Jane Combes to chief media partnerships officer for the agency, replacing Salib. Combes will join OMD’s Executive Leadership team and lead the media partnerships strategy for OMD and the agency’s clients.

Salib’s promotion to chief media partnerships officer will also see her appointment to OMG’s Australian Executive Committee, alongside Simon Flaxman, chief commercial officer, and Alex Pacey, chief product officer.

TBWA\Sydney has appointed Matt Keon as the agency group’s chief creative officer.

Keon’s addition to the agency rounds out TBWA\Sydney’s impressive new leadership line up with Elektra O’Malley, as managing director and Michael Hogg, as chief strategy officer.

Also joining the team is Josh Taylor Dadds as head of strategy from Special NZ.

72andSunny has welcomed the appointments of Hayley Noble, Madi Chan, and creative director, V. Wassim Kanaan following a flurry of recent new business wins including AFL, Cadillac and Deputy.

Noble, Chan and Kanaan will work across the creative agency’s portfolio of existing, new clients – including Google and RealEstate.com.au. They will report to CCO ANZ Wez Hawes.

Noble and Chan join 72andSunny from Host/Havas. Noble is a copywriter whose ‘Tiny Love Stories: True Tales of Love in 100 Words or Less’, was published by the New York Times. Chan is a D&AD New Blood Award Yellow Pencil and DIA Australian Graduate Designer of the Year.

Poem has appointed Tom Manning creative director to lead its creative outputs, replacing Jessica Cluff, who finished in the role last week.

Manning, formerly national creative director at Havas Red, returns to the independent creative communications agency after a year spent freelancing for a variety of PR and advertising agencies, and brings with him a strong grasp of both the earned and advertising sides of creative. Following a handover period, Cluff will be taking some time off before announcing her next move.

Connecting Plots has expanded its offering with integrated comms offering and appointed seasoned PR and communications specialist Katie Eastment to the newly created role of head of PR.

Eastment brings over a decade of experience to the role and joins the agency from The IMPACT Agency where she was head of consumer and most recently group account director. In her time there, she worked across a diverse range of clients including Nestlé, Modibodi, Connect Hearing, Solahart, and The Growth Faculty.

Uber advertising ANZ has introduced the new role of head of strategic verticals with Erin Holt stepping into the position.

Holt joins from Gumtree Group where she was director of advertising, bringing extensive experience from across the Australian media landscape.

Michael Levine, Uber ANZ’s head of advertising sales, welcomed her appointment in a LinkedIn post this week.

He said: “Her leadership and vision will be invaluable as Uber continues to build partnerships with Australian brands and media agencies. Erin’s dedication to fostering high-performing teams, with a focus on both culture and results, made her the ideal choice for this role.”

Holt also shared the exciting career news in a LinkedIn post. She called her 4.5 years with the Gumtree Group “incredible”.

“I’m energised by Uber’s bold vision, its ability to shape culture, and the way it captures attention through brand partnerships that are anything but ordinary. I can’t wait to help brands show up in meaningful, creative ways across both mobility and delivery.”

As the nation’s regular breakfast radio teams take a seasonal breather, Nova is filling the gap with a new dynamic trio.

From Monday 14 April to Thursday 24 April (excluding public holidays), Mel, Matty & Susie O’Neill will take over the national breakfast slot across the Nova Network.

The line-up brings together familiar voices and fresh chemistry.

Adgile has made two senior sales appointments with Marie Galinsky and Sidney Hunwick.

Galinsky joins the video measurement company from Cartology and steps into the role of sales director, Melbourne, meanwhile Hunwick joins from MiQ in the role of sales manager, Sydney/Brisbane.

“As we move fast into the outcomes era, the market and in particular major brands are coming to us to understand how their video activity is contributing to business growth.” said Craig Service, chief customer officer, Adgile.

“Bringing Marie and Sidney into the team will ensure we are equipped to support this growing demand for our product,” he added.

Convo Media has welcomed the appointments of Marissa Williamson and Emma Yexley to the agency, as it expands its network.

The digital advertising company, formerly know as Convo Ink, has had significant demand for its services, leading to key strategic moves that enhance both its leadership and its premium publisher network.

Williamson joins as strategy lead and brings her extensive experience in advertising agency leadership roles at Joy, Havas, and Urban List.

Convo Media has  promoted Yexley to the position of commercial director. She will work closely with CEO Monique Harris to oversee business development, client relations, and further enhance Convo Media’s innovative content amplification solutions. 

LEVO, Clemenger Group’s boutique strategy and transformation consultancy, has bolstered its team with the appointments of Catherine Hooson and Mark Dalton.

Hooson joins as practice director, experience strategy, from Alvarez & Marsal and has held leadership roles at Deloitte Digital, Accenture and CHEP Network.

She boasts two decades of experience transforming customer and employee experiences for major brands and government organisations.

Hooson has a proven track record of building high-performing teams and driving commercial success. Her expertise will strengthen LEVO’s ability to create meaningful, people-centred experiences while continuing to elevate its presence in the consultancy space.

Dalton will step into the role of executive creative director, bringing over 20 years of experience in creative and art direction to the role.

ARN has unveiled a major restructure of its commercial team, appointing five senior leaders to new state-based director of sales – Total Audio roles, as it looks to accelerate growth across its audio portfolio.

The new appointments in Sydney, Melbourne, Brisbane, Adelaide and Perth are effective immediately and reflect ARN’s push to simplify access to its expansive offering, from broadcast and streaming to podcasting and digital, through a single point of contact in each state.

The five new sales directors are all internal promotions, signalling the bench strength within ARN’s commercial ranks.

• Ashlea Reece steps into the Sydney role after 15 years with ARN, most recently as Sydney Sales Director – Agency. She is known for her deep market knowledge and innovative client solutions.
• Nick Flood takes on the Melbourne role, bringing over 20 years of experience across Australia and New Zealand. He previously served as national sales director – Independent Agencies and Direct Advertisers.
• Emily Buckby becomes Brisbane director of sales – Total Audio, after nine years at ARN and past roles with Nova, TEN and oOh!media.
• Sonia Russo, a 16-year ARN veteran, will lead the Adelaide team. She previously held senior positions at Clemenger BBDO and Starcom MediaVest.
• Aaron Bryant will head up Perth, leveraging his experience at Nova, JCDecaux and Initiative, as well as six years at ARN.

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Independent full-service agency Apparent is kicking off 2025 with a strong growth signal, adding Tip Top Australia, Vanuatu Tourism Office, World Surf League, and Rhythm Japan to its creative, social, UX, and design roster.

The new appointments underscore the Sydney-based agency’s evolving reputation for delivering tailored, full-spectrum marketing solutions, with a growing portfolio of global and local brands across diverse categories.

Surf, snow, sandwiches and the South Pacific

Each new client brings a unique brief.

George Weston Foods tapped Apparent to elevate Tip Top Australia’s always-on social strategy and creative content, while Vanuatu Tourism Office enlisted the agency to help lure Australian travellers with standout creative campaigns.

World Surf League turned to Apparent for a refresh of its brand communications, and mountain lifestyle brand Rhythm Japan has partnered with the agency to overhaul its website and digital UX.

Brett Grebert, marketing and innovation director at Tip Top, George Weston Foods, said: “We’re excited to partner with the Apparent team to elevate our always-on social. Their ability to understand our audience, create fit-for-format content that aligns with the Tip Top brand, and develop a new social strategy impressed us throughout their response.”

While Sarah Anderson, Australia managing director at Vanuatu Tourism Office, added: “We were looking for an agency with creative ideas that would allow us to punch above our weight and Apparent’s was a clear winner, delivering strategically sound creative ideas that stood out.

“We are excited to launch two campaigns over the next five months with Apparent, including our Wake Up Call campaign launching mid-year, which aims to give Aussies a few laughs while they discover some of the mind-blowing things they can do in Vanuatu.”

Diverse briefs, connected thinking

The new partnerships come off the back of a major win for Apparent in late 2023, when the agency was appointed by Volkswagen Group Australia to manage the CX and digital for Audi, Volkswagen, Cupra and Skoda.

Apparent managing director Suzy Smiley said the latest client additions reinforce the agency’s positioning as a full-service partner with creative and CX depth.

“We’re incredibly proud to welcome our new partners who not only represent iconic brands but are also choosing us for a wide array of services, ranging from branding and design to full-service creative and media campaigns, as well as more advanced digital, customer experience (CX). We are growing as an agency with a team that now tops more than 175,” she said.

Meanwhile, the global appeal of the World Surf League will be enhanced through a brand communications redesign spearheaded by Apparent. Meanwhile, Rhythm Japan, a brand synonymous with mountain experiences, has enlisted Apparent’s expertise in UX and website design to elevate its digital footprint and user engagement.

With a client portfolio that also includes Google, the Sydney Symphony Orchestra, and IBM, Apparent continues to solidify its position as a leading independent agency, offering a comprehensive suite of services designed to deliver tangible results for its diverse client base.

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The Advertising Council Australia (ACA) has revealed the winners of the 2025 Young Lions Australia competition, five teams who will go on to represent the country at the Cannes Lions International Festival of Creativity this June.

Selected after a competitive final pitch round in Sydney yesterday, the winners stood out for their bold thinking, creative flair, and ability to deliver under pressure. Each team developed and presented an original idea in response to a brief for the sustainability app Saveful.

Tony Hale, CEO of the ACA, said: “Young Lions is all about discovering the very best emerging talent Australia has to offer. We’re incredibly proud of this year’s winners and look forward to seeing them compete against more than 70 teams from around the world when they represent Australia on the world stage.”

Meet the 2025 Young Lions Australia Winners:

MEDIA – Sponsored by Powered by Nine and supported by the Media Federation of Australia
 Elizabeth Nan Tie & Tayla Orr – Nine
Winning entry: #savethecrust
View their winning work

MARKETING – Supported by the AANA
 Keira Spencer & Jenney Kim – Google Australia
Winning entry: Fridge First Bonus
View their winning work

DIGITAL – Sponsored by Meta and supported by IAB Australia
 Amy Morrison & Laura Murphy – M+C Saatchi
Winning entry: FAST-ER FOOD
View their winning work

FILM – Sponsored by Val Morgan
 Loz Maneschi & Lewis Clark – Cocogun
Winning entry: Choose Me Again
View their winning film

PR – Supported by Advertising Council Australia
 Annabel Begeng & Lily Lazzarotti – Thinkerbell
Winning entry: The Helpful Hot Potato
View their winning work

Jury praise for the 2025 class

Imogen Hewitt, media jury chair and chief media officer at Publicis Groupe ANZ, said the media category winners presented “a powerful, original solution and commercial rigour, we’re confident they’ll do Australia proud in Cannes.”

Marketing jury chair Jenni Dill, CMO at The Arnott’s Group, described the winning pitch from Spencer and Kim as “clear, insight-driven, and backed by bold thinking.”

Digital jury chair Seamus Higgins, CCO at R/GA Australia, praised FAST-ER FOOD as “a clever behavioural hack” that made food waste prevention feel “crave-worthy and cool.”

Tara Ford, film jury chair and CCO at Droga5, said the winning film entry stood out for both its “idea and craft”, a significant achievement given the short turnaround time.

And James Wright, PR jury chair and global CEO of Red Havas, added: “The winning idea impressed us all with its clarity, creativity, and cross-channel potential.”

Next month, the five winning teams will participate in a full-day boot camp hosted by Nine. Designed to fine-tune their strategic and presentation skills, the intensive session will help ensure the Australian teams are match fit for the global competition in Cannes.

Young Lions Australia is proudly sponsored by Meta, Nine and Val Morgan, and supported by the AANA, MFA and IAB Australia.

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Total People TV Ratings

Seven’s Seven News recorded a total TV national reach of 2,138,000, a total TV national audience of 1,315,000 and a BVOD audience of 81,000.

Nine’s 9News recorded a total TV national reach of 1,957,000, a total TV national audience of 1,217,000 and a BVOD audience of 108,000.

Seven’s AFL: Thursday Night Football recorded a total TV national reach of 1,843,000, a total TV national audience of 701,000 and a BVOD audience of 47,000.

Nine’s Thursday Night NRL Live recorded a total TV national reach of 1,435,000, a total TV national audience of 669,000 and a BVOD audience of 95,000.

Nine’s Tipping Point Australia recorded a total TV national reach of 1,409,000, a total TV national audience of 738,000 and a BVOD audience of 62,000.

People 25-54

Seven’s AFL: Thursday Night Football:
• Total TV national reach: 616,000
• National Audience: 270,000
• BVOD Audience: 27,000

Nine’s 9News:
• Total TV national reach: 584,000
• National Audience: 338,000
• BVOD Audience: 55,000

Seven’s Seven News:
• Total TV national reach: 572,000
• National Audience: 328,000
• BVOD Audience: 40,000

Nine’s Thursday Night NRL Live:
• Total TV national reach: 508,000
• National Audience: 249,000
• BVOD Audience: 56,000

Nine’s A Current Affair:
• Total TV national reach: 408,000
• National Audience: 258,000
• BVOD Audience: 43,000

People 16-39

Seven’s AFL: Thursday Night Football:
• Total TV national reach: 300,000
• National Audience: 129,000
• BVOD Audience: 18,000

Nine’s Thursday Night NRL Live:
• Total TV national reach: 243,000
• National Audience: 120,000
• BVOD Audience: 37,000

Nine’s 9News:
• Total TV national reach: 235,000
• National Audience: 128,000
• BVOD Audience: 27,000

Seven’s Seven News:
• Total TV national reach: 231,000
• National Audience: 131,000
• BVOD Audience: 20,000

10’s Gogglebox:
• Total TV national reach: 169,000
• National Audience: 90,000
• BVOD Audience: 9,000

Grocery Shoppers 18+ TV Ratings

Seven’s Seven News:
• Total TV national reach: 1,694,000
• National Audience: 1,058,000
• BVOD Audience: 65,000

Nine’s 9News:
• Total TV national reach: 1,521,000
• National Audience: 960,000
• BVOD Audience: 88,000

Seven’s AFL: Thursday Night Football:
• Total TV national reach: 1,396,000
• National Audience: 531,000
• BVOD Audience: 35,000

Nine’s Tipping Point Australia:
• Total TV national reach: 1,131,000
• National Audience: 601,000
• BVOD Audience: 50,000

Nine’s A Current Affair:
• Total TV national reach: 1,100,000
• National Audience: 746,000
• BVOD Audience: 66,000

Data © OzTAM and Regional TAM 2025. Not to be reproduced, published or communicated (electronically or in hard copy) in whole or in part, without prior written consent of OzTAM and Regional TAM.

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