The Australian Centre for AI in Marketing (ACAM) has launched to help create a future where every marketer confidently understands, embraces, and benefits from AI.

As AI continues to reshape the marketing landscape, the Australian Centre for AI in Marketing (ACAM) has launched to help create a future where every marketer confidently understands, embraces, and benefits from AI.

The acceleration and reshaping of AI adoption comes as almost eight in ten Australian marketers are set to ramp up AI investment this year according to Canva research, and analysis from the Harvard Business School shows AI will unlock a 25% boost in productivity and a 40% leap in quality.

The pro-purpose Australian Centre for AI in Marketing has been founded by prominent marketing leaders Louise Cummins, former CMO of World Vision Australia; Jodie Sangster, former CEO of ADMA and CMO of IBM, Rochelle Tognetti, former Deloitte CMO and partner and Douglas Nicol, former strategy partner at The Works, part of Capgemini.

“It is clear that AI can have a transformative impact and help reconnect us with the soul of what great marketing is about, however this cannot be just technology led, we need to also consider the human dimension that will fuel this transformation,” Cummins said.

“When we talk to marketers we sometimes hear fear and uncertainty and that holds our industry back. Our vision for the centre is to create a future where every marketer in Australia confidently understands, embraces, and benefits from AI, driving better results for themselves, their company, and the industry.”

Australia is forecast to spend US$8.3 billion on AI by 2027, making it the second largest AI spender in APAC according to IDC, but six in ten are struggling to integrate new AI tools in workflows and 95% say AI literacy will be a must-have skill set in the next two to four years. This gap between investment and literacy is what ACAM plans to address.

To help shape its roadmap and deliver practical, real-world insights, ACAM has created the AI Pioneers Circle – a collective of Australia’s leading CMOs to provide insight, direction, and real-world experiences to guide AI adoption in marketing. At different stages of their AI journey, these marketing leaders will share their learnings, challenges, and successes to help others navigate AI with confidence and clarity.

This group will include CMOs and executives from companies including Woolworths, IKEA, Nine Entertainment, The Iconic, Menulog, Bluescope, Mirvac and Red Cross Life Blood. The AI Pioneers Circle will advise ACAM on tackling the barriers to AI adoption, such as people, culture, technology, risk, and hands-on learning.

“I’m excited to be part of the AI Pioneers Circle and play an active role in helping every marketer in Australia fully leverage AI’s potential,” Jeremy Weiss, CMO at Australia Red Cross Lifeblood, said.

“This is especially vital in the not for profit sector, where AI can maximise team expertise, improve efficiency, and ensure every dollar is spent effectively. For Lifeblood, AI presents an unique opportunity to reimagine both the customer experience and how we work, driving greater impact for the community we serve.”

Cummins added: “Our goal is to offer clear and actionable guidance on AI integration while preserving the essential human element in marketing. We believe that with the right support, marketers can enhance their efficiency and performance through responsible AI adoption.”

As a for-purpose initiative, the centre is not membership based but is a collaborative organisation committed to supporting the broader marketing community gain access to research, knowledge, and upskilling through research, scholarships, free training sessions, and low bono consulting to not for profits.

Initially founder-funder, Cummins, Sangster, Tognetti and Nicol – who collectively have expertise in AI strategy, change management and marketing innovation – have launched AI Ready Consulting, a consulting arm to support individual businesses in applying AI strategies practically and sustainably, and supporting the Australian Centre for AI in Marketing’s initiatives longer term.

Cummins said: “We have made a conscious decision not to make The Australian Centre for AI in Marketing membership based. This isn’t about exclusivity, but about working together as an industry to navigate the seismic shift AI is bringing to our ways of working. AI is set to reshape marketing as we know it and ACAM exists to ensure we do it right together.”

Australian Centre for AI Marketing will be releasing the findings from its first benchmarking study next month.

Top image: Jodie Sangster, Louise Cummins, Rochelle Tognetti, Douglas Nicol.

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Nine has announced its appointment as the exclusive sales partner for advertising on Warner Bros. Discovery’s (WBD) Max streaming service in Australia. This partnership positions Nine to expand its digital video advertising offerings.

Max taps into premium content

Max will house WBD’s biggest titles, including HBO and Max Originals such as The Last of Us, The White Lotus, and And Just Like That…, alongside blockbuster Warner Bros. films and real-life content from Discovery, HGTV, and ID. Through Nine’s advanced advertising technology, the platform’s Basic With Ads tier will become a core part of Nine’s broader digital video offering to advertisers.

WBD’s GM of Australia and New Zealand, Michael Brooks, said: “This is the first time WBD’s premium slate of content has existed in one place in Australia.  Launching Max with an ad-supported tier creates a compelling offer for viewers and advertisers alike while partnering with Nine allows us to tap into their deep experience, strong relationships, and proven capabilities.”

Expanding Nine’s digital footprint

By adding Max to its portfolio, Nine strengthens its dominance in the subscription video on demand (SVOD) and broadcast video on demand (BVOD) markets. The partnership complements Nine’s existing streaming ad inventory across 9Now and Stan Sport, offering advertisers a powerful cross-platform opportunity at scale.

Max’s advertising inventory will be incorporated into Nine’s premium revenue strategy, driven by its “Powered” integrated sales and strategy division. The sales strategy will be supported by Nine’s ‘Centre of Digital Excellence’, which encompasses digital solutions, data, product, and programmatic capabilities.

Nine’s acting chief sales officer, Matt James, said: “The combination of Max’s amazing content and world-leading advertising products with Nine’s local expertise, sales infrastructure and scale is a unique opportunity for clients in this country. This relationship with WBD will accelerate our strategy into the digital video market and offer clients better return on investment.”

Max will launch in Australia on 31 March.

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Ben Pobjie is the author of the Reality Recap of Australian History Error Australis and Aussie, Aussie, Aussie. He is the resident satirist for Medium and TV writer for the Saturday Age, he co-hosts the comedy podcast Gather Around Me, and is a regular voice on ABC radio,Triple R and 3CR as well as writing occasionally for TV.

He reviewed the first episode of Sam Pang Tonight for Mediaweek.

“There is a subtle difference, discernible to any long-time experienced television watcher, between a studio audience in fits of hilarity at the show they’re watching, and a studio audience forcing itself to laugh according to instructions they’ve been given.

The audience present at the first episode of Sam Pang Tonight had a powerful whiff of the latter: while the titular host certainly got laughs with every gag, there was a sort of aggressive desperation to it; you could sense the warm-up guy by the side of the stage frantically waving his arms to generate the response. Somebody has to whip up some energy, after all, and it’s energy that, for long stretches of the show, was sorely lacking.

Sam Pang, it should be made clear, is a very talented performer. He didn’t get his new chat show by accident: over years of radio, podcasting and television performances on shows like Santo, Sam and Ed’s Total Football, The Front Bar and Have You Been Paying Attention?, he’s proven himself a polished and original comedic presence. But having your own tonight show is a very different beast to bantering on panels.

A chat show is a distinctly showbizzy affair, and Pang is a distinctly un-showbizzy guy. This is a major part of his appeal, of course, but achieving a synthesis of format and persona takes a major effort, and judged on the first episode, Sam Pang Tonight is still very much a work in progress.

Pang’s understated style comes off as awkward, particularly during the opening monologue – the tonight show staple – when a series of fairly weak one-liners are reeled off with uninspired delivery. Pang seems not to really believe in the task he’s undertaking: his first monologue was that of a man distinctly uncomfortable with the form.

You sense that what he truly yearns to do is subvert the entire exercise, but instead has to trudge through the motions. It would help, mind you, if his writing team worked a bit harder to come with better topical gags. Or if the set were a bit more imposing: the show feels a little small, a little cheap, like the network lacks the faith to go all-out on the concept.

Things pick up a little when it comes to the interview stage, although the first encounter, with screen legend Jack Thompson, suffers from the same malaise as the show in general: a lack of energy.

Thompson has a wealth of tales to tell, but at an advanced age is no whippy conversationalist – he’s better suited to an hour-long profile than a five-minute chat. And Pang, though clearly interested in his subject, doesn’t have the interviewing chops to bring the talk alive. His second interview, with Doctor Emma West, was better, with a more idiosyncratic approach playing far better to Pang’s strengths.

And the show in general got better from that point on, with a couple of playful pieces – one on weird old TV clips and one sending up the traditional Wheel segment. By the end it seemed like Pang, and his audience, were more relaxed and having more fun.

Shame it happened so late. If more of that spirit can be infused, and greater energy summoned across the show, Pang may still revive the old format.”

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Paramount Global, the parent company of MTV and CMT, is reportedly recalibrating its live events strategy.

New reports from Deadline claim MTV is not bringing back its Movie & TV Awards for 2025 after cancelling the show in 2024 too.

Earlier this year, according to The Hollywood Reporter, several other key awards shows, including the MTV Europe Music Awards (EMAs), the CMT Music Awards, MTV Latin America’s MIAW Awards, and Nickelodeon’s Kids’ Choice Awards in Mexico, were placed on hiatus.

The publication reports that Paramount Global executive, Bruce Gillmer, addressed the changes in a staff memo, stating, “our world-class events remain a key component of Paramount’s music offering as we continue to raise the bar in delivering iconic, unforgettable performances and moments that drive pop culture. We have the best team in the business, and we are grateful for your hard work and dedication in bringing these events to life.”

He explained the decision as an opportunity to “reimagine and optimise our events slate going forward.”

Notably, the CMT Music Awards has been a staple since 1967, and the MTV EMAs celebrated its 30th anniversary last year with performances from Busta Rhymes, Raye, Shawn Mendes, and more. Despite the pauses, flagship events such as the MTV Video Music Awards and the US Nickelodeon Kids’ Choice Awards will go ahead as planned.

The decision to pause the CMT Music Awards, and the MTV EMAs, suggests a possible strategic reassessment amidst the impending merger.

Claims Paramount lowers Australian asset valuations amid merger

Concurrently, Paramount Global has adjusted the valuation of its Australian broadcast licenses, specifically Network 10. Last month, Capitol Brief, citing a filing with the US Securities and Exchange Commission (SEC), reported a US$8 million (A$12.7 million) reduction, bringing the estimated fair value to US$13 million (A$20.7 million).

The write-down coincides with Paramount’s US$8.4 billion (A$13.3 billion) merger with Skydance Media, which has already received regulatory approvals from the Australian Competition and Consumer Commission (ACCC) and the Foreign Investment Review Board (FIRB).

Merger implications and industry impact

The merger with Skydance Media, signifying the end of the Redstone family’s controlling stake, will integrate Paramount’s extensive portfolio, including CBS, 10, Paramount+, and Nickelodeon, with Skydance’s film production capabilities. This consolidation raises questions about the future strategic direction of Paramount’s assets, particularly Network 10, and its positioning within the competitive Australian media market.

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Escape is expanding its travel offering with a new weekly section every Tuesday in News Corp Australia’s state and regional mastheads, with Flight Centre on board as launch partner.

Escape’s Travel Tuesday will be published nationally in key mastheads including The Daily Telegraph (NSW), Herald Sun (VIC), The Courier-Mail (QLD), The Advertiser (SA), The Mercury (TAS) and NT News (NT) and on escape.com.au.

In response to growing consumer demand for travel content targeting early-week booking trends, the new travel-focused section, Travel Tuesday with Escape will feature practical advice and information to encourage immediate holiday bookings, holiday hacks, and partner deals each week. Digital content promoting deals will run across the company’s commerce content destinations Escape Deals and news.com.au Checkout.

News Corp Australia head of Food, Travel and Health Kerrie McCallum said Escape’s audience is travelling more, seeking better value, and often books trips soon after reading Escape on the weekend, making Tuesdays the perfect time for the new section.

“Our new Tuesday section is a refreshed take on travel content, and one that is relevant to Australian travellers right now,” McCallum said. “It is focused on deals, travel tips, and getting the most out of your trip, whatever the budget.

“We know from extensive customer research that Escape’s audience tends to book their holiday within 48-hours of reading our bumper Sunday edition, so creating this opportunity across our state and regional mastheads every Tuesday is giving our audience and clients the environment they want at the optimum time.”

A valuable print and digital proposition, Escape’s new Tuesday offering connects clients with travellers during their planning and booking journey, maximising engagement and conversions.

“Flight Centre is excited to be the launch partner for Escape’s Tuesday offering,” Flight Centre retail marketing manager Rachael Green said.

“It will play a key role in our media mix, allowing us to extend our weekend activity into a working week to support stronger consideration and conversion while at the same time, continuing to promote the joy of travel.

“Flight Centre is Your Centre for Travel, and we hope consumers will start to pair Escape’s Travel Tuesday with our brand, knowing they can access great deals and create amazing travel experiences.”

Escape has a monthly cross-platform audience of 3.64 million, according to Roy Morgan data, delivering the nation’s best travel content to a brand ecosystem consisting of the weekly print insert in News Corp Australia’s Sunday state mastheads, website, video content, eDM and social channels.

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Kayo Sports has celebrated its biggest weekend ever, setting a new record for total minutes streamed as Australian sports fans tuned in for an action-packed schedule.

The sports streaming giant recorded more than 879 million minutes streamed between Thursday and Sunday, marking the most minutes streamed across a single weekend in its history.

The incredible four-day lineup featured a mix of local and international sporting events, with Sunday’s Australian Grand Prix becoming the most-watched Formula 1® race of all time across Kayo Sports and Foxtel.

Fans watched coverage of AFL, the Australian Grand Prix, NRL, The PLAYERS Championship golf, Supercars, netball, and the World Surf League (WSL) Championship Tour events.

Headlining the weekend’s programming was Lando Norris’ victory for McLaren in the Formula 1® on Sunday, supported by Kayo Sports’ first exclusive ‘Super Saturday LIVE’ AFL coverage, Round 2 of the NRL, The PLAYERS Championship golf, the WSL Championship Tour, Netball Team Girls Cup, NBA action on ESPN, and the NBL Playoffs.

Motorsport fans had a stacked schedule from Melbourne’s Albert Park, including Formula 1®, Formula 2®, Formula 3®, Supercars, and the Porsche Carrera Cup. The demand for motorsport content saw Sunday’s F1® race achieve the highest race audience ever across Foxtel Group platforms, including Kayo Sports, Foxtel, Foxtel Go, and Foxtel Now.

Kayo Sports CEO Julian Ogrin highlighted the significance of the milestone weekend, saying: “It was a spectacular weekend of sport with Kayo Sports the only place to watch all the action from the F1®, AFL, NRL, netball, golf, basketball, surfing and much more.

“We’re focused on delivering value for our customers, and this weekend we served up an unmatched 450 hours of live sport. The hardest thing for our customers was prioritising what to watch.”

Foxtel Media CEO Mark Frain emphasised the platform’s value for brands.

“Alongside our subscribers, our advertising partners also enjoyed a stellar weekend, with every campaign delivering emphatically,” he said.

“The success of the weekend continues the momentum on our strong start to the year, with our broad slate of top-tier sport offering an exceptional opportunity for brands looking to reach an engaged, sports-obsessed audience. We can’t wait to share these results with our commercial partners.”

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Carrie Bickmore has been praised for being “raw and real” after sharing a candid photo on Instagram of herself crying, aiming to open up discussions about mental health.

In the image, a bare-faced Bickmore is seen staring into the camera with tear-stained eyes. However, it was her heartfelt caption that truly resonated with the Australian public, as she spoke about the reaction on her 2Day FM radio show.

A message of solidarity

“Scrolling through my camera roll this morning, I found this photo I’d sent a friend a few months ago when I was having a terrible day, and she had checked up on me,” she wrote initially on Instagram.

“I don’t often post on the days I feel crap (and there are a lot of them) because I usually go quiet. But I thought it was worth sharing. We all have sad days/weeks/months for so many varied reasons, and if you are having a s*** one, I hope tomorrow is a brighter day. You are not alone,” she wrote.

The post quickly garnered an outpouring of positive comments, with Bickmore’s followers and celebrity friends applauding her honesty.

“Your power in your vulnerability never ceases to amaze me,” wrote Rove McManus.

Network 10 star Angela Bishop added: “You’re doing a good thing xx.”

Explaining her decision

Bickmore later expanded on her decision to share the emotional moment during her Carrie & Tommy radio show, revealing she came across the photo while deleting images from her phone.

“I found a photo that I’d sent my friend, who had asked me a few months ago if I was having a good day or a bad day. Because she knew I was going through a really tough time. I was on the floor, leaning against the wall, on the carpet, and I was in the middle of crying. I just sent her the photo and said, ‘Not a good one,’” she explained.

She went on to say that she felt compelled to post the photo because she does seek help for her mental health struggles and believes “Instagram can just become a bit of a showreel of all the happy stuff that’s going on in your life.”

By sharing her struggles, she said she hoped to make others feel less alone.

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Del Fordham is no stranger to audio storytelling. Having led 9Podcasts and previously served as head of audio at News Corp, he has spent years refining strategies that drive engagement and revenue in the podcasting space. Now, as he steps into his new role as associate director for Audible APAC Originals, he is set to help shape the platform’s premium content strategy in a rapidly growing market.

“The exciting thing that Audible has been doing over recent years, is focusing on premium content,” Fordham told Mediaweek. “If you look at the content that Marc Fennell, in particular, has created from a podcast perspective, it’s award-winning stuff. Audible is about that premium experience.”

Australia’s booming podcast market

According to Commercial Radio Australia’s (CRA) 2024 Australian Podcast Report, society and culture, true crime, and news continue to dominate the Australian podcasting landscape. True crime fans, in particular, are power listeners – 57% are more likely to clock in five-plus hours of content weekly.

The report also revealed the medium is on a meteoric rise across the country, with listenership up 37% in just two years and nearly 6 million tuning in weekly. The boom is fuelled by a growing pool of publishers and platforms, meeting the surging demand for on-the-go, on-demand audio.

Podcasting’s reach also remains strong, with 48% of younger Australians (18-34) listening in the last month. Additionally, 37% of Australians aged 35-54 and 21% aged 55+ also tuned in over the past month. This broad demographic appeal signals the growing popularity of the medium across all age groups.

Subscription vs ad-supported podcasts

As the podcast industry evolves, so does the battle between subscription-based premium content and ad-supported free podcasts. Two major players in this space, Audible and Spotify, take distinct approaches to how they deliver and monetise content.

Spotify has built its podcast empire largely on ad-supported content, offering millions of free podcasts while still featuring exclusive and subscriber-only content. While, Audible operates primarily on a subscription model, where most content sits behind a paywall.

Fordham believes his experience at News Corp, where he oversaw the success of subscription-based investigative podcasts, can offer key insights into the potential of paid audio content.

A vision for Audible’s growth

“When I was at News Corp as head of audio, we had quite a few very successful podcasts that were only available with a subscription,” Fordham shares. “Through True Crime Australia, we created at least four or five investigations that were only available with a subscription. But with that subscription, you didn’t just get the audio- you got written yarns, images, videos. That worked. That was successful.”

Fordham believes this highlights an important shift in how premium audio content is packaged – it’s no longer just about podcasts, but rather a multi-format experience that adds value for paying subscribers. This aligns with Fordham’s philosophy: “The content must be of high quality, have longevity, and still be relevant years after its original release.”

Understanding the younger demographic in audio

Fordham also sees an opportunity to tap into a younger demographic, particularly listeners under 40, who remain under-served by world-class production. “I feel like the younger demographic, 35 and under, maybe 40 and under, isn’t being as well-serviced as they could be from a world-class production perspective,” he notes.

Interestingly, Fordham highlights that younger audiences tend to be more loyal: “I have found that a younger audience, particularly under 35, is far more sticky when it comes to staying on content. Whether that’s a true crime series, a lifestyle podcast, finance, business, or health and well-being content, they are pressing ‘follow’ and sticking around longer.”

He continued: “I think particularly in Australia, the younger audience is far more open-minded when it comes to trying out something new. And if you hook them in, they stay around for longer.”

The future of premium audio in a subscription economy

As more companies shift toward subscription-based revenue models, Fordham believes that businesses must reward their paying subscribers with content that justifies their investment. “We live in a changing landscape where subscriptions – whether audio, video, books, or even your favourite news masthead – are more common than ever,” he explains. “Businesses need to reward that. They need to reward the person for downloading your app, taking out a subscription, or even just trialing it.”

Retention is key, he adds. “Trialing is a big one. If you get people in after a trial, and they stick around and don’t churn, that’s a huge win. There’s something in the content that has to reward the person for downloading your app and subscribing. It’s a different mindset.”

His final take? Success in the audio space requires data, strategy, and experience. “There is an alchemy to it,” he explains. “It’s a few things: data, your overarching strategy, and a knack for picking content that will work. Over time, you learn what works for your audience, and you can move quickly on an idea.”

With Australia’s podcast market only continuing to grow, Fordham believes Audible will play a crucial role in shaping the region’s next phase of premium audio content.

Pictured: Del Fordham

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MasterChef Australia is turning up the heat for its 17th season, welcoming back 24 former contestants for another shot at the coveted title and a $250,000 prize.

The returning cast, a mix of fan favourites and past finalists, will take on a fresh set of high-stakes challenges in Masterchef Australia: Back To Win as they test how far they’ve come since their first time in the kitchen.

A battle of the best

Among the returning chefs are former runners-up Callum Hann, Laura Sharrad, Rhiannon Anderson, Pete Campbell, and Sarah Todd – each hoping to finally claim the trophy. Some contestants, like Darrsh Clarke, Sav Perera, and Snezana Calic, are fresh from Season 16, while others, including Andre Ursini from Season 1, are stepping back into the competition after more than a decade away.

Social media favourites Steph de Sousa and Declan Cleary are also back, as are chefs who have since traded aprons for judging roles. Audra Morrice from Season 4 has been a judge on MasterChef Singapore and MasterChef Asia, while Season 13’s Depinder Chhibber recently appeared as a guest judge on MasterChef India.

Star-studded judging panel

Guiding the contestants through this high-stakes season are judges Andy Allen, Poh Ling-Yeow, Jean-Christophe Novelli, and Sofia Levin. Adding to the excitement, celebrity chef Gordon Ramsay will kick off the season as the first of many all-star guest judges.

With a mix of seasoned competitors and fresh talent, MasterChef Australia Season 17 is set to showcase just how far these chefs have come – and whether past experience gives them an edge in the ultimate culinary rematch.

MasterChef Australia: Back To Win is coming soon to 10 and 10 Play.

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WHISKAS is turning self-proclaimed ‘cat haters’ into ‘cat lovers’ through an innovative new program in partnership with CHEP Network, AMV BBDO, and EssenceMediacom and Enthral.

The WHISKAS new cat adoption campaign ‘The Cat Conversion System’, launching first in Australia, aims to change perceptions, increase cat adoption and make more people in the world fall in love with feline friends.

New research commissioned by WHISKAS revealed that countless Aussies are overlooking the perfect pet – without realising it with one in six Australians (15%) admitting to disliking, or even outright hating cats. However, 74% of them have never actually owned or lived with a cat, meaning their opinions are based purely on perception rather than experience. At the same time, an overwhelming 91% of Australians agree that cats deserve a loving home, yet 62% say they have no plans to foster or adopt in the next 12 months.

The research coupled with the fact that Australian shelters are overflowing and more than 39,000 cats are in need of homes, it was clear that introducing ‘The Cat Conversion System,’ an online platform designed to give so-called ‘cat haters’ the chance to step outside their comfort zones and foster a feline, would help in building awareness of the issue, and increase cat fostering and adoption.

The launch campaign kicked off with cryptic out-of-home ads announcing “Cat Haters Wanted” to garner curiosity before revealing the full message across OOH, print and social. Feline dubious haters are then directed to a website where they’re invited to foster a cat for a few weeks, experiencing firsthand the simple joys (and occasional frustrations) of a purring cat, encouraging permanent adoption and increasing cat ownership.

On TikTok, WHISKAS will employ a first-of-its-kind ‘dislike algorithm’ – the more sceptics swipe past cat videos, the more they’ll be identified for recruitment, turning traditional engagement tactics on their head.

Meanwhile, WHISKAS will prove that love is possible by sharing the journeys of some cat converts and demonstrating that the “system” works. Teaming up with dedicated rescue groups 9 Lives Project Rescue and Hills Cat Rescue, WHISKAS is ensuring each participant is matched with the perfect cat for their lifestyle. To make the transition even smoother, participants will receive the ultimate digital ‘Cat Conversion Kit’, which includes:

• Discounts on WHISKAS® Cat food & Cat Essentials with online retailer Pet Circle
• Expert tips and tricks on cat fostering & behaviour
• Consumer care support

WHISKAS selected a handful of participants to document their two-week experience in real time on social media. The brand’s Insta Stories and TikTok Playlists will share daily content, allowing other Aussies to follow along, offer advice and perhaps be converted themselves. The best footage from these cat adopters will be compiled into a humorous social film, capturing the highs and lows of transforming cat cynics into devoted cat lovers – naturally featuring WHISKAS products throughout the journey.

Media agency EssenceMediacom has taken a data-driven approach to identify households that are most likely to be open to pets – but sceptical towards cats. Through an omni-channel campaign, social, print, and OOH will call on Australians to put their scepticism aside with messages like, “Honestly, if there was anyone else, we wouldn’t be asking.” “You like cats the least. That’s why we need you the most.”.

Postcode targeting will ensure Sydney and Melbourne‘s most cat-hating suburbs see bespoke ads, and Australians will then be served with heartwarming tales of converted cat sceptics, proving love can indeed flourish. PR and talent agency, Enthral, brought together a powerhouse lineup of local talent to drive the earned media campaign. Renowned Australian TV personality Jamie Durie stepped into the role of the ‘Cat Sceptic,’ welcoming three-month-old foster kitten Iskra into his home to put his feline reservations to the test.

Meanwhile, beloved radio and TV personality Jo Stanley, a proud and self-confessed ‘Cat Lover,’ teased the campaign, sharing her passion for pets in collaboration with the brand. Adding expert insight, leading chief behavioural scientist and professor Dr. Juliette Tobias-Webb dissected the new WHISKAS research, offering her analysis in national media interviews.

Camille Shepherd, WHISKAS brand director said: “At WHISKAS®, we’re devoted to helping all cats live healthy and happy lives and believe that every cat deserves a loving home. The Cat Conversion System is our way of challenging misconceptions and showing that even the most sceptical individuals can find joy and companionship in a feline friend.

“By fostering a cat, people can experience the unique bond that forms and, hopefully, decide to make it permanent. This campaign is not just about increasing cat adoption rates, but also about changing hearts and minds.”

Gavin McLeod, CCO of CHEP Network said: “‘Whiskas’ work has been nothing short of amazing, sparking a genuine connection with Aussies in a way that feels both fresh and familiar. It’s the kind of creativity that doesn’t just stand out, it purrs. Having gone through my own cat conversion (courtesy of my daughter’s determination) a while ago, it was amazing to help create something that could change attitudes at scale and make a real difference.”

Andre Sallowicz, creative partner at AMV BBDO said: “If cat lovers already have a cat, who’s left to adopt? The Cat Conversion System targets sceptics, people who think they dislike cats but have never lived with one. By giving them a firsthand experience, we can turn doubt into love and find more shelter cats forever homes.”

EssenceMediacom client managing partner Michelle O’Brien said: “EssenceMediacom is proud to partner with Whiskas and CHEP on this category disrupting, and truly innovative campaign. By strategically targeting and converting the most sceptical cat-haters through a creative, data driven approach, we’re confident we can help more cats find loving homes. This campaign is a testament to our commitment to delivering breakthrough ideas and working with partners that drive real impact.”

The stories captured in Australia will be followed everywhere through the brand’s global social media channels on Instagram and TikTok.

Keep on top of the most important media, marketing, and agency news each day with the Mediaweek Morning Report – delivered for free every morning to your inbox.

• This weekend, the Australian box office made $5,207,336 down -8% from last weekend’s $5,685.534.

Top five

1. Mickey 17

Now in its second week on Australian screens, the Bong Joon Ho directed sci-fi black comedy remains in the top spot despite a -27% in gross earnings over the weekend from $1,674,545 across 392 cinemas.

Synopsis: The film, based on Edward Ashton’s novel Mickey7, stars 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: $1,226,894

2. Black Bag

Spy Thriller Black Bag debuts at number two in at the Australian Box Office, making $911,918 across 371 screens. The film features an all-star cast led by Australian actress Cate Blanchett, Michael Fassbender, Naomie Harris, Regé-Jean Page, and Pierce Brosnan.

Synopsis: Black Bag centres on intelligence agents George Woodhouse and his wife Kathryn. When she is suspected of betraying the nation, George must choose between his marriage and his country.

Total Australian Box Office gross to date: $911,918

3. Bridget Jones: Mad About the Boy

Now hitting five weeks in Australian cinemas, Bridget Jones impressively holds a spot in the top  remains five ranking films, coming in a number three.

This weekend the romantic comedy grossed $774,509 across 369 screens this weekend, down -22% from $991,210 earned last week across 361 screens last weekend. To date, the film has grossed $14,832,532.

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: $774,509

4. Captain America: Brave New World

The Disney’s Marvel Cinematic Universe film also keeps its foot in the top five films at the Australian Box Office, dropping down one spot to fourth in its fifth week. Captain America earned $561,069 this weekend after screening across 291 cinemas, down -25% from last week’s earnings of $747,287. The film as grossed $12,986,799 throughout its run in Australian cinemas.

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: $561,069

5. Ne Zha 2

Ne Zha 2 has dropped down to fifth spot in its fifth week at the Australian Box Office. This weekend the Chinese animated film made $175,181 after being shown at 79 cinemas, a sharp drop of -63% from $275,179 generated across 97 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: $175,181

303 MullenLowe Perth has kicked off the year with a slew of new business wins and projects as it expands its capabilities.

The new client partnerships will utilise the agency’s significant experience across media, strategy, creative and design, plus its ability to delve into corporate strategy and business solutions.

New business includes WA Museum, as it develops and launches a major campaign for an upcoming landmark cultural event in 2025, aimed at driving engagement and excitement across the WA. The agency is also working with the Fremantle Arts Centre, creating fresh branding and a compelling campaign for the Fremantle International Street Arts Festival.

The City of Albany is working with 303 MullenLowe to support events and activity that celebrate its bicentenary, while on a national level, the agency is now collaborating with EdConnect Australia, a not-for-profit organisation that recruits, trains, and supports skilled volunteer mentors for students in over 250 schools. This work involves developing a comprehensive volunteer recruitment strategy to help expand the organisation’s reach and impact.

Other wins range from the brand design and communications for the DFES, RAC rescue helicopter, and Australia’s largest mental health and fitness event; the Push Up Challenge for 2025 for media, plus campaign strategy and creative.

“We’ve really enjoyed expanding the spectrum of work we’re doing, focusing our strategic and creative skills on solving business challenges first,” René Migliore, 303 MullenLowe Perth managing director, said of the wins.

“With such a diverse range of projects, our team is constantly learning, stretching, and understanding new sectors, which makes the work incredibly rewarding and leads to exceptional solutions.

“From creativity and strategy to design and beyond, the whole team is enjoying the work, embracing these new opportunities and seeing firsthand the impact we’re making for both new and long-standing clients.”

Matt Oakley, 303 MullenLowe Perth chief strategy officer, added: “What we’re finding is that our commercial acumen and creative thinking is the perfect tonic for CMOs and CEOs who need to drive long-term growth, may have conflicting priorities and have historically tried to solve every business problem with communications and campaigns.

“We’re helping them to better understand and implement the likes of behaviour change at an organisational level, or achieve more with less through focussing their efforts in the right places.”

Keep on top of the most important media, marketing, and agency news each day with the Mediaweek Morning Report – delivered for free every morning to your inbox.