America’s biggest tech companies are urging the Trump administration to take a stand against Australia’s digital regulations, arguing they unfairly target US businesses.

The Computer and Communications Industry Association (CCIA), representing industry heavyweights such as Meta, Google, Apple, Amazon, and X, has made a formal submission to the White House as part of a review of US trade policy.

At the heart of the dispute is the federal government’s proposed News Bargaining Incentive, which would require large social media and search platforms to either strike commercial deals with Australian media outlets or pay a separate charge.

The group argues that such policies create unnecessary barriers to trade. “The overriding goal should not be restrictions on foreign products or services, but rather the removal of barriers,” the submission states. However, it also acknowledges that “targeted, reciprocal measures”, such as tariffs, can be a powerful negotiation tool -though they come with unintended consequences.

Streaming quotas add fuel to the fire

The CCIA has also raised concerns over Australia’s proposed local content quotas for streaming services. The policy, designed to ensure platforms like Netflix invest in Australian productions, mirrors regulations imposed on traditional broadcasters.

While the government initially championed the plan, recent indications suggest a possible retreat due to potential conflicts with the Australia-US Free Trade Agreement.

With US trade officials evaluating “reciprocal tariffs,” the CCIA submission stops short of demanding new penalties on Australia but suggests they could be used as leverage.

Meanwhile, the Albanese government continues its efforts to shield Australian exports from further tariffs, following previous unsuccessful attempts to secure exemptions on aluminium and steel.

Put on ice

The federal government had been gearing up to introduce The News Bargaining Initiative, in January, but the policy rollout was been shelved until US trade tensions cool, according to the Herald.

At the time Google raised concerns about the proposed tax, cautioning it could jeopardise the viability of its existing commercial deals with local news publishers.

The tech giant pointed to the rise of alternative platforms like Snapchat, Microsoft, and Apple as increasingly dominant sources of news for Australians.

The trend was highlighted by findings from the Digital News Report Australia 2024, which revealed that nearly half (49%) of Australians access news via social media – a 4% increase from the previous year. Among Gen Z, the reliance on social platforms for news has surged by 17% in the same period.

The report highlighted the growing maturity of news consumption on platforms like TikTok and Instagram Reels, cementing short-form video as a key format for younger audiences.

Meta also hit back at the initiative, telling Mediaweek: “The proposal fails to account for the realities of how our platforms work, specifically that most people don’t come to our platforms for news content and that news publishers voluntarily choose to post content on our platforms because they receive value from doing so.”

Despite its ownership of LinkedIn – a platform heavily reliant on Australian news content – Microsoft appears to be exempt from the proposed tax. This discrepancy, Google argues, raises questions about the fairness and effectiveness of the new measure.

Will Washington act?

The CCIA’s lobbying efforts coincide with deepening ties between Silicon Valley and the Trump administration. X owner Elon Musk has emerged as a key figure in Trump’s economic strategy, while Meta’s Mark Zuckerberg and Amazon’s Jeff Bezos have strengthened relationships with the White House, aligning company policies with administration priorities.

Treasurer Jim Chalmers dismissed the tech sector’s position as expected, stating, “It’s self-evident they’re very close with the US administration. Our focus and our job is to make our case in the US as we have been doing.”

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The Australian’s annual The List – Australia’s Richest 250 has been released today delivering a comprehensive snapshot of Australia’s wealthiest individuals. Curated by wealth expert John Stensholt, the list provides valuable insights into the trends shaping Australia’s economic landscape, attracting both high-end advertisers and aspiring entrepreneurs.

Australia’s richest continue to favour property as a key wealth driver, with 55 of The List – Australia’s Richest 250 making their fortunes in real estate proving the Great Australian Dream is still very much alive – for some of us.

Property’s enduring reign

Gina Rinehart tops the list with a staggering $46.34 billion, but it’s the dominance of property that continues to stand out.

“As long as we’ve got land to live on, property will always be strong,” Stensholt told Mediaweek. “It’s safe, steady, and certain.” While some billionaires amass their fortunes in other industries like transport or tech, they often reinvest in property as a reliable asset.

He highlights the scarcity factor and the tendency for wealth to find a safe haven in real estate. “But another point with property is that people will make their money in one industry like transport or technology, and then often park it in real estate as a safe investment,” he said.

Gina Rinehart

The rise of the digital generation

While property remains king, the rise of technology is undeniable.

Stensholt said the sector is reshaping the landscape of wealth creation in Australia, with 25 names on The List tied to tech – 10% of the total. While property remains king, the ability to build a global company from home soil is an undeniable trend.

“These days, you don’t need to go to Silicon Valley,” he said. “You can start a business in Australia, scale it globally in five or ten years, and make money much faster than industries like mining, which take decades.”

The younger generation is leading this shift, with entrepreneurs like Robbie Ferguson (Immutable) and Ed Craven (Stake.com) proving that blockchain, gaming, and fintech are major new wealth drivers. “They’re taking old industries – like banking – and reinventing them through blockchain and crypto,” Stensholt adds.

Ed Craven

Atlassian and Chemist Warehouse: Two very different success stories

Atlassian co-founders Mike Cannon-Brookes and Scott Farquhar remain in the top five, highlighting the potential of software-driven wealth. However, Stensholt notes that their story is unique.

“Atlassian’s share price is incredibly high, but they haven’t delivered huge profits yet,” he explains. “There’s still a lot of potential priced into that.”

Meanwhile, Chemist Warehouse has emerged as one of the biggest financial shake-ups of the year. “With their ASX listing via a reverse takeover of Sigma Healthcare, they’ve crystallised a massive amount of wealth,” Stensholt says. “There was a lot of wealth there before, but because it was a private company, we didn’t know the full extent of it.”

Atlassian co-founders Mike Cannon-Brookes and Scott Farquhar

Luxury brands and aspirational audiences

Stensholt is quick to remind readers that The List doesn’t just reveal who’s making money – it’s also a prime platform for luxury brands targeting Australia’s wealthiest. Advertisers in this year’s edition include Rolex, Tiffany & Co, Viking Cruises, Porsche, Harvey Norman, Abercrombie & Kent, and Omega.

“These brands are evolving to appeal to a younger, tech-savvy audience,” Stensholt notes. “Look at the Grand Prix – Louis Vuitton, Rolex, and others are tapping into this new audience that’s come along via Netflix and Formula One. But at the end of the day, the core factor is still wealth.”

While The List is a premium product aimed at high-net-worth individuals, it also reaches a wider aspirational audience. “People read these stories for the how-to factor,” Stensholt says. “It’s not just about wealth – it’s about the entrepreneurial journey, the ups and downs. Readers want to learn from these business leaders, whether they want to be like them or work for them.”

The List – Australia’s Richest 250 | Top 20 2025

1. Gina Rinehart – $46.34 billion
2.  Harry Triguboff – $31.48 billion
3. Mike Cannon-Brookes – $29.45 billion
4. Scott Farquhar – $29.19 billion
5. Anthony Pratt & Family – $28.57 billion
6. Clive Palmer – $22.32 billion
7. Nicola Forrest – $16.06 billion
8. Andrew Forrest – $15.01 billion
9. Richard White – $14.82 billion
10. Cliff Obrecht – $14.02 billion
11. Melanie Perkins – $14.02 billion
12. Kerry Stokes – $13.56 billion
13. Michael Dorrell – $13.54 billion
14. Frank Lowy – $10.90 billion
15. Vivek Sehgal – $10.10 billion
16. Alan Wilson & Family – $9.59 billion
17. Ivan Glasenberg – $9.44 billion
18. Jack Gance – $8.77 billion
19. Sam Gance – $8.77 billion
20. Mario Verrocchi – $7.65 billion

The 2025 edition of The List – Australia’s Richest 250 is available online exclusively to subscribers
at richest250.com.au and as a large-format glossy magazine inserted into The Australian newspaper
today, Friday 21 March.

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Tech giant Apple has been recognised with the Marketer of the Year award by The Cannes Lions International Festival of Creativity.

The annual award, inaugurated in 1992, celebrates an iconic body of work sustained period of time. This is Apple’s second time winning the industry accolade, the first was in 2019.

Last year Apple took home a slew of Lions awards for a range of brands, products and services in the B2B and B2C space, and from across a breadth of eight disciplines including Brand Experience & Activation, Digital Craft, Entertainment, Film, Film Craft, Health & Wellness, Industry Craft and Media.

Tor Myhren, vice president, marketing communications, Apple, said of winning the Creative Marketer of the Year award: “We are incredibly grateful for this honour, which highlights the passion and creativity of an extraordinary team.

“Apple has always existed at the intersection of liberal arts and technology, and we work hard to channel our creativity into content that will inspire our users to unlock their own.”

Tor Myren

Simon Cook, CEO, LIONS, said: “Apple has fostered a culture that prioritises creativity and innovation, and that shows up in its deep understanding of meaningful marketing. As part of its culture, it’s clear that Apple’s leadership encourages the kind of thinking necessary to create marketing content that connects with people in a uniquely emotional way.

“This honour is about recognising those marketers who are being bold, brave and pushing boundaries – and Apple continues to do this in spades.”

The last four festivals have seen Apple take home multiple metal. Last year, the tech giant took home five Lions for the ‘Shot on iPhone’ campaign, Relax: Tractor’, which won a Gold and Silver Lion, as well as other work that included ‘The Underdogs: Swiped Mac’, ‘TED LASSO: Fake Team. Real Partners.’, and ‘Fuzzy Feelings’.

Past recipients of the Cannes Lion Creative Marketer of the Year include AB InBev, Burger King, Coca-Cola, Google, Heineken, IKEA, Mars, McDonald’s, Samsung, Microsoft and Unilever.

Each of the companies have demonstrated that consistent and world-class creativity underpinned by a culture of creativity drives business performance – and have won multiple Lions at the Festival as a result.

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News Corp Australia brought together participants from across the programmatic supply chain to take part in an action-packed afternoon of strategy, teamwork and friendly industry competition.

The Programmatic Pursuit saw teams roam across the Sydney CBD to solve clues, complete checkpoint challenges with partners – Nexxen, Yahoo, Google, The Trade Desk and Pubmatic – who tested everyone’s programmatic knowledge.

Paul Oyama, head of programmatic supply at News Corp Australia, told Mediaweek that by bringing together the businesses involved in a programmatic campaign attendees learn from each other and about News Corp’s ‘tech driven, human centric’ vision.

“There’s a lot of technology that drives activating a programmatic campaign. It’s really built there to have as little touch points as possible to run an efficient campaign. However, there is a forgotten element of the humans behind the scenes making things possible within the supply chain.

“Part of the Programmatic Pursuit is to bring everyone together. There’s going to be challenges where they get to learn about the programmatic industry in general but also learn about the capabilities between News Corp and some of our programmatic DSP and SSP partners.”

Paul Oyama (pictured), head of programmatic supply at News Corp Australia, told Mediaweek that by bringing together the businesses involved in a programmatic campaign attendees learn from each other and about News Corp’s ‘tech driven, human centric’ vision.

Oyama: ‘Part of the Programmatic Pursuit is to bring everyone together.’

Importance of human connection

The technology behind programmatic makes it possible to there to be as few touchpoints as possible when activating a campaign, but Oyama highlighted that the humans behind it are the forgotten yet powerful element of the programmatic supply chain.

He explained that many programmatic buyers’ “cherry pick” different impressions through target exchanges or SSP (supply side platforms) across thousands of sites.

“While that might help deliver out just reach, it doesn’t really target specific types of audiences that might be valued higher than others. At D_Coded last week, Lou Barrett introduced Engage Reach, and that talks to the power of our content and the way we measure the loyalty, trust and conscious choice that 17.5 million Australians make every month to engage with our content.”

News Corp showcased enhancements to Intent Connect at D_Coded, its audience intelligence platform that helps brands reach high-intent consumers through AI.

“When you are buying on an exchange in the marketplace, you’re not really getting the benefits of the insights of a publisher. Having that human element between us and the client, we’re able to use AI to respond to a brief or put a strategy forward for them so they can make sure that they hit the right audiences for their campaign.”

Yahoo’s checkpoint challenge at Prince Albert Park

Google takes over Telstra in Pitt Street Mall for its checkpoint challenge

News Corp’s move into AVOD

News Corp also launched its new partnership with Tubi as an advertising supported video on demand platform at D_Coded. The platform has a content library with more than 275,000 movies and TV episodes that are available globally. In 2024, there are 97 million monthly active users with 10 billion streaming hours globally.

“It’s definitely a large audience base. Tubi brings the extended breadth of offerings at News Corp. Traditionally, we’ve been seen as a display and short form business. Tubi allows us to extend that offering to the living room, to the big screen, to what we’re calling all screens for all Australians, allowing us to run campaigns and reach that engaged audiences, no matter where they are or even what time of the day.”

He noted that New Corp content has been stronger in the morning as people commute and or around lunchtime on mobile phone or desktop as they looking at taste.com.au for a recipe to cook that afternoon.

“With Tubi, that now brings us the afternoon and evening audiences where they might be relaxing and fully submerged into a movie or a TV show. Having the ability to reach engaged audiences all throughout the day is a big thing for brands, and it allows us a new proposition to market.”

The ad funded platform, which will be available to key programmatic partners through one-to-one deals or on the open market, does not require consumers to pay for a subscription, which caters to people concerned with cost of living and conscious of monthly costs.

Oyama added: “We are starting to see some of the bigger platforms move more from a paid monthly subscription to an ad funded model as well. So you can see that these are the type of audiences that brands also want to be speaking to.”

Nexxen sets up a programmtic themed game of Guess Who? in Prince Albert Park

Team Alpha at the finish line of News Corp Australia’s Programmatic Pursuit

Transparency and efficiency

WARC’s “The Future of Programmatic” report, released last June, surveyed 100 programmatic experts and highlighted the opaqueness of the media supply chain as a main concern

Oyama said he the programmatic industry is in a better place with transparency, SSPs and cleaning up their supply by removing low-engaging websites and made for advertising websites.

“Part of my role is to ensure that programmatic buyers are able to access news.com.au, The Australian or Tubi in the most cost-effective and transparent way.”

Oyama highlighted the two ways News Corp does this: ads.txt. and ensuring a clean bid stream. He explained most programmatic buyers have implemented ads.txt., a IAB TechLabs initiative, helping publishers declare their authorised sellers. New Corp’s approach of only allowing direct entries – a publisher’s direct relationship with a third party – across all its display and video inventory.

“In a world of signal loss, we are constantly ensuring that the right types of signals are also being passed through in the bid stream.”

By ensuring the bidstream is clean, New Corp work with its agency and in-house clients through private marketplace and one to one programmatic deals. Direct engagement with clients allows then to align tech stack to fit SPO strategies. New Corp’s agnostic approach allows them to support how buyers want to trade.

Oyama also spoke about programmatic buyers making the switch to advertising to attribute ROI and have transparency on how it is spent. He noted that in today’s economy, brands are looking for ways to run media campaigns that have a direct correlation to return on investment, and they’re able to see exactly where almost every single cent has been spent.

“Part of the key initiatives that we have around transparency phase is to ensure that they can measure that, and they can see exactly where that’s been spent. We have seen at News, campaigns that would have typically run through a traditional IO are starting to move to programmatic guaranteed to create efficiencies on both the buy side and the sell side.

“We’re also starting to see performance-led campaigns that have a direct correlation to an outcome. That way they’re able to measure the effectiveness of their marketing budget and able to really achieve key KPIs that actually matter to a business, such as driving sales or a particular action on a website.”

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Netflix is diving into the world of Roald Dahl with The Golden Ticket, a high-stakes reality competition inspired by Charlie and the Chocolate Factory.

Produced by Eureka Productions (The Mole, Dating Around), the series will transport contestants into a retro-futuristic version of Wonka’s iconic factory – but getting in is just the beginning.

Strategy, survival, and sweet surprises

Hopeful players must first secure a coveted golden ticket to gain entry. But once inside, the competition takes a sharp turn, with challenges testing their adaptability, resilience, and ability to thrive in unpredictable chaos.

Combining physical endurance, social strategy, and unexpected temptations, the show promises an immersive, edge-of-your-seat experience for both contestants and viewers.

Netflix expands the Roald Dahl universe

Following the release of the films Matilda the Musical and The Wonderful World of Henry Sugar, The Golden Ticket is the latest Roald Dahl project from Netflix, which joined forces with the Roald Dahl Story Company in 2021 to bring stories from the author’s treasured universe to fans around the world.

The Twits, an animated movie based on Dahl’s 1980 book of the same name, is also set to hit Netflix this year.

The Golden Ticket marks the platform’s first venture into reality TV using Charlie and the Chocolate Factory’s world, positioning it as a unique IP-driven entertainment play.

“We are thrilled to bring the magic of The Chocolate Factory to life like never before,” said Jeff Gaspin, vice president of unscripted at Netflix. “This one-of-a-kind reality competition blends adventure, strategy, and social dynamics, creating an experience that is as captivating as it is unpredictable.”

With casting now open, the streaming giant is betting big on nostalgia-driven content with a competitive edge. Filming details and a premiere date are yet to be revealed, but one thing is clear – this Wonka-inspired challenge is set to be a golden opportunity for both contestants and Netflix alike.

To apply click here.

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Man of Many, Australia’s leading digital men’s lifestyle publication, has unveiled its  ICONS Digital Edition, marking the first instalment of 2025. This edition aims to celebrate timeless personalities and innovative products, reflecting on influential figures from the past and present while spotlighting those poised for future greatness.

The ICONS edition is graced by international superstars Max Verstappen, Robert Irwin, and Cosmo Jarvis, representing a triad of talent across varied industries and experiences.

Verstappen, the reigning Formula 1 World Champion, fronts the cover, sharing insights from his recent triumphs at the historic Australian Grand Prix. In an exclusive interview with Editor-in-Chief Nick Hall, Verstappen discusses his legacy in motorsport, along with his ambitions for the upcoming racing season.

Joining him on the covers is Irwin, the Australian wildlife conservationist and television personality. At just 21 years old, Irwin reflects on the challenges of navigating fame while highlighting his dedication to conservation over celebrity status. He candidly reveals how he strives to make a meaningful impact beyond the lens of the camera.

The edition also highlights Jarvis, the British actor known for his role in the FX series Shōgun. Jarvis shares his unique perspective on fame, describing his choice to step back from traditional Hollywood paths in favour of authentic storytelling through independent films. His compelling journey offers insight into the evolving landscape of celebrity.

Man of Many – ICON – Robert Irwin.

Hall commented, “This Digital Edition serves as a poignant reminder that no two paths are ever the same. Achieving iconic status involves risk and vulnerability, whether it’s in the fast lane of Formula 1 or advocating for the underrepresented. I am immensely proud of the stories we’ve crafted in this edition.”

In addition to the standout interviews, Man of Many has expanded its content offerings with the introduction of a new menswear-focused series. This series explores the history and cultural significance of pivotal fashion staples, further enriching the publication’s established lineup, which includes popular segments like Suite Spot and Cinematic 7.

The launch of the ICONS Digital Edition comes at a strategic moment for Man of Many, as the publication continues to diversify and elevate its content. Recent campaigns, such as the celebration of basketball legend Lauren Jackson, highlight the platform’s dedication to inspiring narratives as Jackson prepares for her fifth Olympic appearance.

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In this episode we had the privilege of speaking with Lisa Walker, co-founder of Eir Women, who shared her deeply personal and challenging journey through grief, resilience, and personal growth. This episode is a powerful testament to the human spirit and the importance of discussing addiction and rediscovering joy amidst the loss.

Lisa’s story begins with the tragic loss of her husband, who struggled with alcoholism. She candidly discusses the impact his addiction had on their family and the day she found him passed away. This moment, which had been her worst fear for years, marked the beginning of a challenging yet necessary journey.

One of the most poignant aspects of Lisa’s story is her description of how she coped with the loss. She talks about the importance of allowing herself to feel emotions and the role that her background in yoga played in helping her navigate her grief. Lisa emphasises that grief is not a linear process and that everyone’s journey through it is unique.  There is no “right way” – only “your way”.

In addition to her personal story, Lisa sheds light on the stigma surrounding alcoholism and the need for more open conversations about addiction. She passionately advocates for providing better tools for men to ask for help and be more vulnerable, highlighting the societal pressures that often prevent people from seeking the support they need.

A significant turning point in Lisa’s journey was her decision to embark on a “year of yes.” This challenge pushed her out of her comfort zone and allowed her to embrace new experiences, from joining networking groups to trying burlesque dancing and fly fishing. This year of yes not only helped Lisa rediscover her resilience but also brought her a renewed sense of optimism.

This episode is a must-listen for anyone dealing with loss, struggling with addiction, or looking for inspiration on finding a way forward.

Lisa’s story highlights even in the face of profound loss, it is still possible to find light and purpose.

Listen Here

Learn more about Uncomfortable Growth® & Rowena here.

The world doesn’t need more stories of success; it needs honest conversations about hard challenges, vulnerability, and proof that trials can ultimately become triumphs.

That’s why the Uncomfortable Growth ® Uncut podcast was born. It’s a reminder that struggle and success are intrinsically linked, that growth is rarely easy, and that the moments we feel most uncomfortable are where our greatest breakthroughs lie.

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Are Media has announced that MasterChef Australia’s first winner, Julie Goodwin, is reuniting with The Australian Women’s Weekly as a regular columnist. After a six-year break, she returns with Family Favourites, a monthly series celebrating nostalgic, home-cooked meals that hold a special place in her heart.

Goodwin, who first joined The Weekly the day after her MasterChef win in 2009, shared her love of food and family with readers for nearly a decade before stepping away in 2019. Now, she’s back, bringing with her a collection of recipes inspired by generations of family cooking.

A homecoming

“This opportunity feels like coming home – it’s full circle for me,” Goodwin said. “Food is woven into all of our memories, and with Family Favourites, I hope to bring that sense of family and home into kitchens across Australia.”

Launching in the April edition of The Australian Women’s Weekly, on sale today, Goodwin’s column will not only appear in print but also extend across The Weekly’s digital platforms. Her recipes will come to life in a dedicated video series on womensweeklyfood.com.au, alongside behind-the-scenes content on social media and a targeted eDM campaign delivering her latest dishes straight to inboxes.

Sophie Tedmanson, editor of The Australian Women’s Weekly, said Goodwin’s return is a natural fit. “Julie has always been a treasured member of The Weekly family, and to have her back is a thrill. Her warmth, love of family, and how she shares love through food have always resonated with our readers. I can’t wait to see what she cooks for us next.”

Sophie Tedmanson, editor of The Australian Women’s Weekly

New commercial opportunities for food brands

The magazine says that Goodwin’s return presents a valuable opportunity for advertisers, with Family Favourites offering a trusted platform for food brands to connect with engaged audiences.

From integrated video sponsorships to digital and print collaborations, Family Favourites will offers multiple touch points for brands wanting to reach The Weekly’s broad and loyal audience.

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Warner Bros. Television’s latest Max Original drama, Duster, is set to premiere on Friday, 16 May, exclusively on Max.

Created by Emmy-winner J.J. Abrams (Lost, Alias) and show runner LaToya Morgan (The Walking Dead), the eight-episode crime thriller will roll out new episodes weekly, leading up to the season finale on 4 July.

Set against the dusty backdrop of the 1970s American Southwest, Duster follows a fearless getaway driver (Josh Holloway) whose work for a rising crime syndicate quickly spirals from dangerous to outright reckless when a relentless young agent arrives in town determined to dismantle his criminal empire.

The cast includes Rachel Hilson, Keith David, Sydney Elisabeth, Greg Grunberg, Camille Guaty, Asivak Koostachin, Adriana Aluna Martinez, and Benjamin Charles Watson.

Big names and high stakes

With Abrams at the helm and Warner Bros. Television backing the production, Duster is primed to attract both audiences and advertisers.

The first two episodes are written by Abrams and Morgan, with Steph Green (Watchmen, The Book of Boba Fett) directing and executive producing. Abrams and Rachel Rusch Rich serve as executive producers for Bad Robot, while Morgan executive produces under her TinkerToy Productions banner.

Max’s marketing push around the series is expected to create strong engagement across digital, social, and traditional media, providing ample opportunities for integration and sponsorship.

New inventory

The show is the latest in a slew of blockbuster productions announced by Warner Bros. Discovery in anticipation of the launch of Max, ahead of its launch in Australia on Monday 31 March.

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.

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1001 Optometry has unveiled “The Hidden Eye Test” campaign, developed in collaboration with creative agency VML, Optometry Australia, and AI artist Prospex Park.

In response to increasing rates of eye decline, the optical retailer launched the campaign to help show Australians they should have their eyes tested, rather than telling them.

Using advanced AI capabilities, the text of the outdoor advertising campaign was crafted to only be visible to blurry eyes with a combination of composition, colours, contrast, models, wardrobe, foreground and background.

The message changes depending on the health of your eyes. If one can see the words ‘eye test’, ‘eye scan’, or ‘eyecare’, it means vision is impaired and the person needs to visit a 1001 Optometry store to get a professional diagnosis. If the words are not visible, the retailers high-fashion frames or sunglasses caught their eye, a 1001 Optometry store offers those too.

Edward Lee, retail and optometry director at 1001 Optometry, said: “With nearly half of Australians affected by eye conditions that are often preventable through early diagnosis, we sought to create a campaign that forces people to reevaluate their eye health.

“‘The Hidden Eye Test’ is a wake-up call. This isn’t just a campaign—it’s a movement to improve and protect Australia’s eye health for the future. Too many Australians wait until their eyesight has significantly declined before seeking help. We wanted to create something that would make people confront their eye health, take action, and book a test before it’s too late.”

The ads were strategically distributed across billboards, social media, and retail channels, each designed to target different vision conditions. Based on viewing distance, the hidden text can indicate vision issues such as near-sightedness, far-sightedness, and even reveal the early signs of conditions like cataracts or glaucoma. Additionally, they raise awareness of more serious health issues, such as diabetes, where impaired vision can often serve as an early warning sign.

Jack Delmonte, creative director at VML, added: “This campaign is the first eye test where if you pass, you fail. Going beyond the brief of simply telling people to book an eye test, we created an interactive experience that lets people recognise potential vision issues firsthand on their daily commutes. So many of us overlook the importance of eye health until it’s too late, this campaign bridges that disconnect by providing a fun, engaging way to highlight the issue. It’s a powerful way to drive action and they look so much sexier than your stock standard eye chart, right?”

The campaign was developed with a pioneering AI artist, Prospex Park. Taking almost an entire year of R&D, the innovative process demanded a careful blend of creativity and collaboration, especially as AI continues to be an emerging frontier in the realm of traditional advertising. AI artist Prospex Park explained, “I combined several AI tools and workflows to achieve the final illusion. That included using ComfyUI with the Flux model, trained on my own artwork, along with an older Stable

Diffusion model originally designed for embedding QR codes into images, and MidJourney to generate high-quality photoreal imagery. Final touches, including retouching and compositing, were done by hand in Photoshop to refine the visuals and maintain my artistic style.”

Credits:
Client: 1001 Optometry
Chief Executive Officer: James Lee
Retail and Optometry Director: Edward Lee
National Sales Manager: Dylan Oblein
Head of Optometry and Professional Services: Margaret Lam
Advisor to 1001 Optometry: Jack Hanrahan

Creative Agency: VML Australia
Executive Director (Global): Jon Bird
CEO: Tom Tearle
APAC CCO: Paul Nagy
Group ECD: Richard Williams
Creative Director: Jack Delmonte
Copywriter: Charlie Dejean
Art Director: Andrew Bao
Senior Art Director: Bryce Waters
Senior Account Director: Leanne Keogh
Account Manager: Imogen Butcher
Executive Producer: Rachel Rider
Lead Producer: Stevi Russell
Motion Art Director: Mitch Clark
AI Artist: Prospex Park
Club 10 (Talent Management): Hayley Bedack

PR Agency: Burson
Account Director: Charlotte Tromans
Account Director: Bill Collier
Account Director: Georgina Dawson
Account Executive: Daniel Tan Xi Ren
Media Agency: Wavemaker
Client Director: Rubi Hudson

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