Warner Bros. Discovery has unveiled the plans, pricing and content offering on the new streaming service Max, ahead of its launch in Australia on Monday 31 March.

Max will bring together the highest quality entertainment from HBO, Warner Bros., Harry Potter, the DC Universe, Discovery, Cartoon Network, HGTV and more, Australians will have access to groundbreaking series, blockbuster movies, loved franchises and real-life hits all in one place for the first time.

New content will arrive on Max in Australia every week, with major titles released at the same time as the U.S. The launch is marked by the hotly anticipated return of HBO Original series The Last of Us, which will premiere on April 14.

Film fans will also be able to enjoy Warner Bros. blockbusters on Max with an accelerated window following their theatrical release, as well as timeless classics through the TCM hub.

At launch, subscribers can choose from one of three plans to suit their needs – Basic with Ads, Standard and Premium. A special introductory launch price will also be available on all plans for subscribers who sign up by 30 April 2025, valid for the first 12 months.

“Max’s breadth and depth of premium entertainment is unparalleled, and for the first time Australians can enjoy all of this world-class content in one place,” Michael Brooks, general manager of Australia and New Zealand at Warner Bros. Discovery, said.

“Combined with a variety of plans and pricing, including a strong introductory price until April 30, Max will offer a distinct streaming proposition in the market.”

Access to award-winning content

• Exclusive, ground-breaking HBO Originals, including current and returning seasons of The Last of Us, Euphoria, House of the Dragon and The White Lotus, as well as new upcoming series A Knight of the Seven Kingdoms, IT: Welcome to Derry and Duster. Subscribers will also have access to award-winning series, True Detective, Game of Thrones and Succession.
• Key Max Originals including And Just Like That…, Peacemaker, Paul American and The Pitt.
• Warner Bros. Hollywood blockbusters like Barbie, Beetlejuice Beetlejuice, Wonka, Trap and Twisters, alongside full collections from Harry Potter, Dune, Lord of the Rings and the DC Universe.
• Worldwide hits including Friends, The Big Bang Theory, Gossip Girl, Sex and the City, Rick and Morty, The Sopranos and Gilmore Girls.
• TCM classics such as Casablanca, The Wizard of Oz, A Clockwork Orange, Full Metal Jacket and Rebel Without a Cause.
• Extensive Cartoon Network and CARTOONITO offering for kids and families, from Adventure Time, Looney Tunes and Scooby Doo, to Ben 10, We Bare Bears and Teen Titans Go!
• Real-life stories from Discovery, TLC, Food Network and ID, including hit reality content 90 Day Fiancé, The Baldwins, Naked and Afraid, Dr Pimple Popper and People Magazine Investigates, as well as factual series such as Outback Opal Hunters, Aussie Gold Hunters, Gold Rush and Deadliest Catch.

Plans and pricing

Max will be available via three plans: Basic with Ads, Standard and Premium. There will be a special introductory promotional price on all plans for subscribers who sign up by 30 April 2025, valid for the first 12 months of subscription.

The launch price offer for the Basic with Ads plan begins at $7.99 per month for the first 12 months, or $79.99 for the first year. Regular price after the promotion will be $11.99 per month or $119.99 per year. The plan will allow users can stream content on two devices simultaneously and be available in Full HD resolution.

The Standard Plan launch offer will begin at $11.99 per month for the first 12 months, or $119.99 for the first year. Regular price after the promotion will be $15.99 per month or $159.99 per year and allows users to stream content on two devices simultaneously, with content available in Full HD resolution.  The plan will allow up to 30 downloads of available content to watch offline.

Meanwhile the Premium Plan, starts at $17.99 per month for the first 12 months, or $179.99 for the first year. While regular price after the promotion will be $21.99 per month or $219.99 per year. It will provides the best consumer experience by allowing users to stream content on up to four devices simultaneously, and viewed in full HD or 4K resolution and with Dolby Atmos sound (as available).  The plan will allow up to 100 downloads of available content to watch offline (limits apply).

The introduction of Max is set to shake up the Australian streaming market, intensifying competition among established platforms such as Netflix, Stan, Disney+, and Amazon Prime Video.

With Max now serving as the exclusive home of HBO content in Australia, it could also lead to changes in the content available on other local streaming services like Binge, which has traditionally hosted HBO programming through its partnership with Foxtel.

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As Australians prepare to vote in the upcoming federal election, Meta has outlined its strategy to ensure platform integrity and combat misinformation across Facebook, Instagram, and Threads.

Cheryl Seeto, Meta’s head of policy in Australia, said the company understands its role as a major platform for public discourse and is taking that responsibility seriously.

“Our election integrity approach has been shaped by learnings from past elections globally, including in the US, India, the EU, Brazil, and Indonesia in 2024. We’re applying those lessons here in Australia.

“Our focus is on providing a platform for people to express their opinions and engage in public discourse while reducing the spread of misinformation and connecting people with reliable election information,” Seeto said.

Fact-checking and media literacy initiatives

Meta will continue its partnership with Agence France-Presse (AFP) and the Australian Associated Press (AAP) as part of its third-party fact-checking program. Any content debunked by these organisations will be labelled with warnings and down-ranked to limit its reach across Meta’s platforms.

In addition, Meta is collaborating with AAP on a media literacy campaign to help Australians critically assess online content. This initiative will run in the lead-up to the election to further combat misleading information.

Meta’s Community Standards will also remain in force, ensuring the removal of content that could incite violence, interfere with voting, or pose other serious risks.

Collaboration with the Australian Electoral Commission

To encourage voter participation, Meta is working with the Australian Electoral Commission (AEC) to deliver in-app notifications across Facebook and Instagram.

These prompts will begin one week before the election, directing Australians to official AEC voting information. On election day, Meta will roll out a reminder notification, reinforcing engagement with verified electoral updates.

Seeto said the platform is also working with the AEC to respond to voter questions on Meta’s platforms with authoritative information and official links.

Additionally, Instagram voting stickers will be available, allowing users to share their participation via Stories.

Managing AI-generated content in political ads

Meta says all AI-generated content flagged by independent fact-checkers will be labelled “altered” and down-ranked to limit its reach.

A new rule will also require advertisers to disclose when AI or other digital techniques are used to create or alter political ads in specific ways.

While concerns over generative AI’s impact on elections remain high, Seeto stated that in previous elections, the risks “did not materialise in a significant way” and that “while there were instances of confirmed or suspected AI use, the volumes remained low. Our existing policies and processes proved sufficient to reduce the risk around generative AI content during the election period.”

Seeto clarified that these ad policies apply not just to election-related ads, but also to social issue ads covering topics such as human rights, child exploitation, and climate change.

“If we find that an advertiser has not disclosed AI use where required, we will reject the ad, and repeat offences will result in penalties,” she added.

Meta will also label photorealistic AI-generated images in both organic posts and paid ads to enhance transparency. This applies to AI-generated content from Meta AI, Google, OpenAI, Microsoft, Adobe, Midjourney, and Shutterstock, ensuring users can distinguish between real and manipulated content.

This policy applies to ads featuring:

• Digitally altered depictions of real individuals saying or doing things they did not actually say or do.

• AI-generated people or events that never happened.

• Manipulated footage of real events.

Users posting AI-generated content will be encouraged to self-disclose, and Meta will apply labels accordingly. If AI-generated content poses a high risk of deceiving the public on critical issues, Meta may apply more prominent warning labels.

Despite these precautions, Seeto reiterated that AI’s role in past elections has been relatively minor.

“Ratings on AI content related to elections, politics, and social issues represented less than 1% of all fact-checked misinformation,” she said.

Meta has also signed onto the 2024 Tech Accord to Combat Deceptive AI Content and is collaborating with the Partnership on AI to establish industry-wide standards for mitigating the risks of generative AI.

Countering election and voter interference

Meta says it is ramping up efforts to prevent foreign and domestic election interference. The company has built specialised global teams to detect and remove covert influence operations, having dismantled over 200 deceptive networks since 2017.

Additionally, Meta continues to label state-controlled media on Facebook, Instagram, and Threads, ensuring users can identify content from government-influenced publications.

Meta is also reviewing and updating its election-related policies to tackle:

• Coordinated harm

• Voter interference

• Hate speech

• Election-related misinformation (both human- and AI-generated)

These enforcement measures will apply to all content types, ensuring a consistent and adaptive response to emerging election threats.

Scaling up efforts to combat scams

Seeto also highlighted Meta’s ongoing efforts to combat scams, particularly fraudulent ads featuring politicians.

“We’ve significantly scaled up our work tackling scams over the past year, especially those exploiting public figures. Any content that violates our fraud and scam policies is removed as soon as we detect it,” she said.

Meta is also working closely with the National Anti-Scam Centre, allowing government agencies to report scams that may have slipped through Meta’s detection systems.

“This enables us to investigate further, identify wider scam networks, and enforce actions at scale,” Seeto added.

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WPP has been named the top company for WARC’s 2025 Media 100 List, for an eighth year running.

The holding company’s media networks demonstrated exceptional performance, with Mindshare claiming the #1 position and EssenceMediacom securing a strong second-place ranking. Wavemaker and VML also earned spots within the top ten media networks.

Mindshare New York and EssenceMediacom New York both placed amongst the top three agencies, while Mindshare Shanghai, Mindshare Mumbai, EssenceMediacom Shanghai, EssenceMediacom London, Wavemaker Mumbai and Mindshare Ho Chi Minh City were recognised in the top 20 agencies globally.

WPP clients were credited for nearly half of the campaigns named in the Media 100, with Twiggy Full Circle for eBay, Michael CeraVe for L’Oréal, and CROWN x LinkedIn: #BlackHairIsProfessional for Unilever a few of the winning campaigns named in the top ten.

“I’m immensely proud to celebrate eight straight years at the top of WARC’s Media 100 with everyone at WPP and GroupM,” Brian Lesser, Global CEO of GroupM, said. “We love the work we get to do for our clients, and we’ll continue building creative, competitive and future-forward solutions that help them connect with audiences around the world. Congrats to our teams, clients, and partners on a well-earned win.”

Adam Gerhart, global chief client officer of GroupM, said: “As the media landscape rapidly evolves, WARC captures the breadth of what our industry is capable of – a collective view of innovation and ingenuity across commerce, technology, creative and data.

“We’re thrilled to have two of GroupM’s networks in the top three, and two-thirds of the top ten from our global agencies. Congratulations to Mindshare as the #1 Global Media Network of the WARC 100, and to EssenceMediacom and Wavemaker for the incredible work. And to all our teams, clients, and partners – this is for all of you.”

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McDonald’s has added Hot Honey Sauce to its menu for limited time, along with a campaign with via DDB Group Sydney to welcome the addition of the global food trend to its local offering.

Customers will be able to enjoy Hot Honey McSpicy, Hot Honey McCrispy and Hot Honey Sauce for Chicken McNuggets, as well as get their hands on a super limited edition Culture Kings x McDonald’s Hot Honey t-shirt.

Drawing on the modern cultural meaning of ‘drip’—which refers to stylish clothing—while also playing on its literal connection to the gooey Hot Honey sauce, Macca’s has partnered with the hottest Australian streetwear brand Culture Kings, to create a Hot Honey range inspired tee.

Fans can buy the tees at Culture Kings Melbourne and online from Wednesday 19 March until they sell out, at which point the only way to get the custom drip is by ordering Hot Honey via the MyMacca’s app.

It kicked off on Monday 17 March, when the collab was announced to fans along with a teaser to build hype, with Macca’s and Culture Kings dripping out their Instagram feeds, in the Hozier Lane store in Melbourne, and digital out-of-home placements.

The fully integrated campaign now hits screens, billboards, social feeds and more from today. With a sneaker drop-style launch event on Saturday 22 March at Culture Kings’ flagship store in Hozier Lane, fans can customise their t-shirt to make their drip even more one-of-a-kind.

“You asked. We listened. Macca’s has seen more and more demand for chicken and we are always looking for ways to grow our range, so we can continue offering our customers even more choice when it comes to chicken,” Amanda Nakad, marketing director of menu and brand for McDonald’s Australia, said.

“Macca’s runs have never been sweeter and we know when a new range drops, you and your crew are on your way. Our new Hot Honey range is a little sweet and a little sticky but will have you willing to risk it all, so our advice is – embrace the drip.”

Jack Nunn, creative partner at DDB Sydney, said: “We borrowed from sneaker drop culture in how the campaign shows up and feels. It’s exciting and really fresh. Plus, I’m pretty keen to see Grimace rock one of the tees, I reckon he could pull it off.”

BINGE Original TV series, Mix Tape, which premiered at the 2025 SXSW Film and Television Festival in Austin Texas, has won the event’s  coveted Audience Award.

Starring Teresa Palmer (The Clearing, The Fall Guy), British actor Jim Sturgess (Across The Universe, Cloud Atlas), Rory Walton-Smith and Florence Hunt (Bridgerton, Cursed), the international co-production between the Foxtel Group, Aquarius Films and Subotica, scooped the prestigious TV Spotlight Award at the 32nd SXSW Film & TV Festival.

A four-part event miniseries, Mix Tape begins in Sheffield, England in 1989 with a couple called Daniel and Alison and their all-encompassing teenage romance, played out through the music of their generation.

The Australian cast includes international star Ben Lawson (Bombshell, Designated Survivor), Julia Savage (The Clearing, Blaze), Jacqueline McKenzie (Force of Nature: The Dry 2, Savage River) and Chika Ikogwe (Heartbreak High, Land of the Bad).

Based on the popular and critically acclaimed novel by Jane Sanderson, the movie was voted for by the audience to screenings at the highly-acclaimed festival.

“We assembled another stellar program that puts independently made narratives, documentaries, TV series, and XR experiences on the same stage as studio films and TV shows,” said Claudette Godfrey, VP Film &TV at SXSW. “The magic of shared viewing experiences and a sense of community continued to define our festival, and we’re excited for all of this year’s projects to reach even wider audiences beyond SXSW!”

SXSW has a legacy of championing groundbreaking work through an eclectic mix of projects.

Alison Hurbert-Burns, Commissioner and Executive Producer, was delighted when the series was chosen to premiere at SXSW in Austin. She said, “Mix Tape is a fantastic addition to our strong and diverse local entertainment slate and continues our commitment to telling Australian stories.

“Subotica and Aquarius Films have assembled an incredible cast and creative team who have delivered a world class series, and we are proud that it has been selected by a jury to premiere at one of the world’s biggest celebrations of film and TV – the 2025 SXSW Film and Television Festival.”

Mix Tape will premiere on Australian streaming platform BINGE and Foxtel in mid-2025.

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Adobe has introduced its strategic vision and product lineup for agentic AI.

Announced at the Adobe Summit in Las Vegas, was Agent Orchestrator, a new capability within Adobe Experience Platform (AEP) used by companies to connect real-time data across their entire organisation, with insights that power impactful customer experiences.

According to Adobe, there are more than one trillion experiences per year being activated through AEP, which is part of Adobe Experience Cloud, and Adobe Experience Platform Agent Orchestrator is rooted in a deep, semantic understanding of enterprise data, content and customer journeys.

This enables agentic AI solutions that are purpose-built for businesses, with data governance and regulatory compliance built in.

Adobe’s AI-Powered customer experience transformation

Adobe’s innovations reflect the evolution of Customer Experience Management (CXM) into Customer Experience Orchestration (CXO). This includes AI agents that interpret goals, create plans and take action – working independently and alongside people.

This is aimed to enhance the capabilities of marketers and creatives, enabling businesses to scale personalisation, driving new customer growth and better customer engagement.

AI Agents designed to enhance marketing and creativity

Adobe has introduced ten purpose-built AI agents, built on AEP Agent Orchestrator, to enhance marketing, creative, and operational efficiency. These agents are:

Account qualification agent: Supports enterprise business-to-business (B2B) objectives by evaluating and advancing new opportunities to build a sales pipeline and engage key members of a buying group.

Audience agent: Analyses engagement data to optimise high-value audience segments.

Content Production agent: Helps scale content creation while adhering to brand guidelines.

Data insights agent: Simplifies the process of gaining insights and interpreting insights.

Data engineering agent: Supports high-volume data management tasks such as data integration, cleansing
and security, across disparate data.

Experimentation agent: Facilitates hypothesis testing and active experimentation.

Journey agent: Helps teams orchestrate cross-channel experiences by driving tasks across customer journey ideation, analysis and optimisation.

Product advisor agent: Supports brand engagement, tailored to individual preferences and past purchases.

Site optimization agent: Detects and resolves website performance issues in real time to boost customer engagement.

Workflow optimization agent: Enables cross-team collaboration by monitoring the health of ongoing projects, streamlining approvals and accelerating workflows.

Adobe Brand Concierge

With AI-driven customer interactions surging – Adobe Analytics reports a 1,200% increase in traffic from generative AI sources to US retail sites from July 2024 to February 2025 – Adobe has launched Brand Concierge, a next-generation AI-powered brand assistant.

Adobe Brand Concierge moves beyond traditional chatbots, offering personalised and rich experiences that guide consumers through product exploration and purchase decisions and it’s built to work across both B2C and B2B.

It supports text, voice, and image-based interactions, leveraging comprehensive AEP insights, brand experiences, first and third-party sources, agents such as the Product Advisor Agent, it can personalise experiences based on user context and brand preferences.

As customers interact, insights on sentiment and behaviour will be captured in AEP, to inform and shape the overall customer experience.

Expanding the AI Agent partner ecosystem

Recognising the need for AI Agents to work across different platforms and ecosystems,  Adobe is extending AI capabilities through strategic partnerships with leading tech firms, including Amazon Web Services, Microsoft, SAP, IBM, and Workday. Additionally, Adobe is collaborating with Accenture, Deloitte Digital, EY, and IBM to tailor AI-driven solutions for various industries.

Additional AI innovations at Adobe Summit

Adobe also unveiled several AI-driven enhancements across its platforms at the summit:

Adobe Journey Optimizer Experimentation Accelerator: Automates experimentation insights to enhance omnichannel strategies.
Adobe Experience Manager Sites Optimizer: Uses AI to diagnose and optimise web performance in real time.
Adobe GenStudio Foundation: Marketers and creatives will have unified marketing workflows across Adobe Experience Cloud and Creative Cloud.
Adobe GenStudio for Performance Marketing: Expands AI-generated ad creation for LinkedIn, Microsoft Advertising, and Google Campaign Manager 360.

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Southern Cross Austereo (SCA) has announced two key leadership promotions, reinforcing its commitment to regional content and commercial growth.

Blair Woodcock has been elevated to head of regional content and general manager of Gold Coast, while Nick Unger steps into the role of head of sales for regional NSW and QLD.

SCA says these appointments aim to enhance its regional leadership team, leveraging the duo’s extensive industry experience to drive operational excellence and expand the company’s footprint across regional Australia.

Their promotions were praised by Ken Wood, head of general management, EGM Queensland and GM Brisbane, who said both leaders had “consistently demonstrated outstanding leadership and a strong commitment to excellence.”

“Their well-earned promotions reflect their contributions, and we are confident they will continue to drive innovation and success in their new roles,” Wood added.

Blair Woodcock expands role with Gold Coast leadership

With more than 25 years of broadcasting experience, Woodcock has played a pivotal role in shaping SCA’s regional content strategy.

Since taking on the head of regional content role in 2021, he has been focused on delivering compelling and locally relevant programming across SCA’s extensive regional network.

His expanded responsibilities are expected to strengthen SCA’s content and commercial position in the Gold Coast market, ensuring the network continues to engage local audiences while driving advertising growth.

“After 17 years with SCA, I’ve always held 90.9 Sea FM and 92.5 Triple M GOLD in the highest regard. These stations are more than just radio – they’re part of the Gold Coast’s heartbeat, as integral as the beaches and skyline, delivering unforgettable content and building deep community connections,” Woodcock said.

“It’s an honour to step into the general manager role and support these exceptional teams in continuing that legacy. I am confident in our people and look forward to driving greater impact for our listeners, sponsors, and partners.”

Nick Unger to lead regional sales strategy across NSW and QLD

With over 15 years of industry experience, Unger has built a reputation as a high-performing sales leader. Before joining SCA as Head of TV Sales in Sydney in 2020, he spent a decade at Nine Entertainment Co., most recently as group business manager.

His promotion reflects SCA’s ongoing investment in regional sales leadership, ensuring advertisers continue to benefit from integrated, data-driven solutions across radio, TV, and digital platforms.

“I’m proud to take on this expanded role, supporting our talented sales teams in NSW and QLD to drive performance, foster innovation, and achieve our ambitious business targets,” Unger said.

“I’m passionate about supporting our teams to reach new heights by encouraging collaboration, inspiring fresh ideas, and building a shared commitment to success across both states.”

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Sam Pang Tonight has launched to impressive numbers, reaching 1.57 million total viewers, in turn, becoming the network’s biggest new format launch since Hunted in 2022.

The show delivered a significant 310% increase in Network 10’s time slot compared to the same night last year, securing its position as the #1 program in its time slot with a commanding 32.5% commercial share.

Additionally, it ranked as the #2 entertainment show of the night, marking a strong start for the much-anticipated series.

The right man for the job

Earlier in the week, Mediaweek sat down with Paramount Australia’s head of scripted and comedy, Sophia Mogford, to find out why Pang was chosen to host the contentious format.

Mogford said that for this style of show to succeed, it needs a host with a distinct voice, natural comedic timing, and a genuine connection with audiences – and Pang ticked every box.

“He’s just so well-liked, he’s so irreverent, he’s so dry, and he’s pretty much the perfect tonic for the world at the moment,” she explains. “He hangs s**t on people in the most charming way.”

Unlike hosts who simply deliver punchlines, Pang’s strength lies in conversation. “I reckon it’s because he talks to people, not at them,” Mogford adds. “He’s engaged in conversation and banter – he’s not looking to get one-up on people, he’s just laughing with them.” His ability to tap into Australia’s larrikin spirit, she says, is exactly why he resonates so well with audiences.

Sam Pang Tonight airs Monday nights at 8:40pm on 10 and 10 Play.

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The Australian podcast landscape is continuing to grow, and the February Top 200 Podcast Ranker reveals a fierce contest for dominance between LiSTNR and iHeart, each leveraging distinct strategies to capture audience attention and advertiser dollars.

The ranker also revealed key trends shaping the industry. Society and culture emerged as the top podcast genre, followed by true crime and news, reflecting strong audience interest in storytelling, investigative content, and current affairs.

Podcast listening continues to demonstrate significant scale, with shows averaging more than 100,000 monthly downloads accounting for 63% of all downloads. Listener engagement remains consistent throughout the week, with Thursdays being the peak day for podcast consumption, highlighting the medium’s growing role in daily routines.

LiSTNR’s transnational triumph and local growth

LiSTNR has solidified its position as the number one sales representation network, boasting a staggering 8,426,165 monthly listeners. A key driver of this success has been the phenomenal performance of international content. “The February Australian Top 200 Podcast Ranker has set a new benchmark for podcast listening in Australia,” declared Grant Tothill, executive head LiSTNR audience and growth. “With The Mel Robbins Podcast, represented by LiSTNR, breaking records with 1,767,699 monthly listeners.”

The surge in popularity of US-produced content, exemplified by “The Mel Robbins Podcast” (up 145.7%) and “Call Her Daddy” (up 174%), underscores the Australian audience’s appetite for global voices. However, LiSTNR isn’t solely reliant on international hits.

Homegrown hits fuel LiSTNR’s Momentum

Tothill emphasised LiSTNR’s commitment to local content, stating, “It’s not just American podcasts experiencing strong growth. LiSTNR’s locally created and produced podcasts… all recorded strong month-on-month growth.” This dedication is evident in the impressive figures for podcasts like “It’s A Lot with Abbie Chatfield” (up 126.9%), “The Rush Hour with JB and Billy” (up 79.1%), and “The Happy Hour with Lucy & Nikki” (up 38.3%).

LiSTNR’s success is a testament to its dual-pronged approach: leveraging popular international content while nurturing a robust stable of Australian-led podcasts. Tothill concluded, “As our sales team continues to drive the Podcast market with improved commercial opportunities through known audiences and evolving AdTech, LiSTNR is well-positioned to remain Australia’s leading commercial podcast ecosystem.”

iHeart’s unwavering reign and top ten triumphs

Meanwhile, ARN’s iHeart continues its streak, maintaining its position as Australia’s number one Podcast Publisher for an impressive 58 consecutive rankers. February saw iHeart attract over 7 million listeners (up 10%) and generate 22.5 million downloads across its extensive library of 47 ranked podcasts.

Corey Layton, ARN’s head of digital audio, highlighted iHeart’s commitment to “delivering premium, engaging, and diverse content.” He stated, “iHeart’s continued reign as Australia’s #1 podcast publisher is a reflection of our commitment… As the industry continues to grow, we remain focused on innovating and expanding our offering to keep Australians and advertisers connected to the content they love.”

Key performers and strategic wins

iHeart’s success is bolstered by strong performances from flagship shows. “The Kyle & Jackie O Show” made a significant leap, climbing 20 places to land at number six overall, solidifying its status as the top radio catch-up podcast. “Life Uncut,” hosted by Brittany Hockley and Laura Byrne, also climbed to number eight, maintaining its position as Australia’s leading relationship podcast. “The Daily Aus” held steady at number 19, demonstrating the growing demand for concise, youth-focused news.

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Labelium Group and RyanCap have launched the Employee Paris Immersion Program, an initiative aimed at bolstering knowledge sharing, business collaboration, and cultural experiences between the two companies.

Starting in March 2025, six RyanCap employees will travel to Labelium’s Paris headquarters for an immersive experience focused on education, training, and business synergy.

This initiative reflects the growing alignment between Labelium and RyanCap post acquisition, emphasising shared learning and global best practice. The experience will be an opportunity for employees to develop skills, build relationships, and gain valuable insights to strengthen knowledge between employees and clients.

From a broader industry perspective, this initiative highlights both agencies’ commitment to talent development and global connectivity in a rapidly evolving digital marketing landscape.

Simon Ryan, founder and CEO of RyanCap, said: “This program is an important step for our people and business. As we deepen our alignment with Labelium, the opportunity for our teams to collaborate, learn, and grow together is invaluable. It’s about building a global mindset, strengthening our capabilities, and driving greater innovation across the RyanCap companies.”

Jean Kerboul, APAC CEO of Labelium, added: “We are excited to welcome RyanCap’s top talent to our Paris headquarters and create meaningful exchanges that benefit both businesses. This initiative reflects our commitment to shared learning and cross-market collaboration—unlocking fresh opportunities and fostering a stronger, more connected global network.”

Labelium Group acquired independent Australian parent group RyanCap in November 2023, expanding the French-based group’s footprint in Australia, and strengthening its position in the data-driven marketing and digital media market.

Last year on a episode of Mediaweek’s Heavy Hitters podcast Ryan spoke about the sale to Labelium. He said: “They have been and continue to be outstanding together with their backers. And they really saw Australia as a growth opportunity for them.

“They were already here in Sydney. We have now moved in together in that city in a really good office.”

Top image: Simon Ryan

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MiQ Australia and New Zealand has bolstered its leadership team with the appointment of seasoned media executive Chris Freel as chief revenue officer. The newly created role comes as the programmatic media company continues its rapid expansion across the region.

Freel, a widely respected industry figure, brings more than 20 years of commercial media experience to the role. Most recently group sales director at oOh!media, his career includes senior leadership positions at Fairfax Media and Pandora, followed by a six-year tenure as CEO of industry charity UnLtd.

He also founded Big Clash, the annual charity cricket event that has raised over $1.5 million for youth-focused causes and more than $30,000 for Breast Cancer Australia.

Reporting lines

At MiQ, Freel will report to ANZ managing director Fiona Roberts, overseeing revenue growth, profitability, and trade marketing across the region. His appointment has drawn praise from industry peers, with MiQ APAC CEO Jason Scott highlighting his experience and leadership.

“We have ambitious growth goals for ANZ in 2025 and beyond, with a number of exciting product releases slated. Chris’ strong background in media sales and business growth, coupled with his brilliant leadership style and ability to bring people together for a common cause, made him an obvious choice for the first role of its kind for MiQ in the region,” Scott said.

An impact-driven approach

Freel’s leadership style has earned him a reputation for fostering strong teams and driving success. oOh!media’s acting chief revenue officer, Mark Fairhurst, praised his people-first approach: “Anyone who knows Chris (which let’s face it – is basically the entire media industry) knows he’s endlessly committed to his team. He is an exceptional leader who always puts people first and champions personal growth. We at oOh! are sad to see him go and wish him all the very best for this new role.”

Roberts echoed this sentiment, reflecting on her past collaborations with Freel at both Fairfax and Pandora: “I know the impact he has on the people around him, and I couldn’t think of anyone I’d rather partner with on growing the ANZ business for the future. We have incredible talent at MiQ, and bringing Chris on board supports the development of that talent, along with the attraction of high performers in the industry as we continue that growth trajectory.”

Next chapter

A new survey has shed light on the evolving challenges facing the media industry, with concerns over generative AI, newsroom closures, and disinformation dominating discussions.

The Medianet 2025 Media Landscape Report reveals that while AI adoption among journalists remains slow – 63% report never having used AI tools – concerns about its influence are growing. More than 500 journalists were surveyed.

Nearly nine in ten (88%) respondents worry about AI’s impact on journalistic integrity, up from 79% in 2023, while 16% say they have already witnessed job losses tied to AI integration.

“While some journalists acknowledge the need and inevitability of these changes, the vast majority are struggling to adapt and fear what these changes might mean for them, their industry, and the implications for our society,” says Medianet managing director Amrita Sidhu.

Disinformation and newsroom closures

Disinformation continues to be seen as the greatest threat to public interest journalism, with fake news and misleading content undermining trust in the industry.

However, the closure of newsrooms is an increasing concern, rising from third to second place among the biggest threats facing media professionals.

As newsrooms shrink, journalists are left with fewer resources to combat misinformation, further exacerbating the industry’s challenges.

Shifting social media habits

The report also highlights shifting social media behaviours among journalists. Since Elon Musk’s takeover of X, usage has dropped by 30%. This has led to an exodus to alternative platforms – 15% of journalists who deleted their X accounts in 2024 have migrated to Bluesky and are actively using it.

The report also highlights the complex relationship between journalists and social media, revealing a paradox at the heart of modern reporting.

While 70% of journalists use social platforms as a news source, 67% believe these same platforms fuel misinformation and echo chambers, raising ethical concerns about their role in shaping public discourse.

Despite concerns over misinformation, social media remains a key tool for journalists, with Facebook ranked as the most preferred platform for professional use, followed by Instagram and LinkedIn.

Election year challenges

With a Federal Election looming, these findings raise fresh concerns about the resilience of journalism in an era of declining newsroom resources, AI disruption, and evolving audience behaviour.

The industry remains at a crossroads, balancing technological advancements with the fundamental need to maintain credibility, accuracy, and public trust.

The report also reveals mounting concerns over media trust, with journalists attributing its decline to fragmentation, polarisation, and the spread of misinformation.

Notably, 28% of journalists surveyed admitted their own reporting carries some level of bias, further highlighting the challenges of maintaining objectivity in a rapidly changing media landscape.

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