Billionaire Adrian Portelli has turned controversy into charity, donating $50,000 to charity after a stunt involving Nine’s Alex Cullen went south.

Portelli, eager to ditch his “Lambo Guy” label, offered the cash to the first TV journalist to call him “McLaren Man.” Cullen took the bait during a lighthearted exchange on Today with Karl Stefanovic last Friday, only to face disciplinary action from Nine soon after.

The network immediately sidelined the host, releasing a statement to the media saying they were arranging for the money to be returned to Portelli, adding they were taking the matter “very seriously”.

The incident has now taken a new twist, with Portelli announcing on social media that he will be donating the money to charity.

Portelli went on to revealed that the donation was suggested by Cullen.

“Alex Cullen… on behalf of you, mate, $25,000 to the Salvation Army and $25,000 to the RSPCA,” Portelli wrote on Instagram.

“I’ve kept pretty quiet about what unfolded with Alex, but even before he’d heard from Ch9, we had a conversation where he expressed his desire to donate the money. That speaks volumes about his character. Alex, you’re an absolute gentleman.”

Cullen, meanwhile, has enjoyed a groundswell of support from viewers, who have taken to social media to express their anger at the decision by Nine to stand him down.

Nine is yet to comment on Cullen’s future at the network.

Pictured: Alex Cullen

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.

Veteran tennis commentator Jim Courier has admitted to being “blindsided” by Novak Djokovic’s refusal to participate in a post-match interview at the Australian Open, a move that stemmed from the tennis star feeling “disrespected” by comments made by Channel 9’s Tony Jones.

The incident occurred following Djokovic’s convincing victory over Jiri Lehecka in the round of 16. Instead of engaging in the customary on-court chat with Courier, Djokovic simply thanked the crowd and made a swift exit.

“I certainly didn’t expect him to look at me as if I should have known he wasn’t going to do the interview,” Courier said in a Tennis Channel interview. “It seemed as though he was questioning why I was even there.

Djokovic later revealed that Jones, during a live TV segment, had made comments that he and Serbian fans found offensive. “It was a very awkward situation for me to face,” Djokovic admitted. “It’s unfortunate I chose to say something to the crowd, but obviously wasn’t the time and space to explain fully.”

Courier, a former world No. 1 and respected tennis analyst, emphasised that he was representing Tennis Australia, not Channel 9, during the on-court interview. However, Djokovic may have mistakenly associated him with the network.

This incident has ignited a debate about the often-tense relationship between athletes and the media, particularly in the high-pressure environment of a Grand Slam tournament, and the importance of cultural sensitivity in sports broadcasting.

Jones has since issued a public apology on Channel 9’s The Today Show, stating that his “humour” had been misinterpreted and that he meant no disrespect to Djokovic. He also revealed that he had privately apologised to Djokovic’s camp 48 hours prior.

“Tennis is about bringing people together, not dividing them,” Djokovic said in his press conference, reiterating his desire to move forward from the situation. He has since accepted Jones’ apology and is focusing on his upcoming quarter-final clash against rising star Carlos Alcaraz.

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.

Andrew Cook, director of sales at Are Media, has resigned after five successful years with the company. Cook, who joined Are Media in February 2020, will officially depart in May 2025, following a six-month transition period.

Jane Huxley, CEO of Are Media, praised Cook’s contributions during his tenure, highlighting his integral role in the company’s evolution into an omnichannel media business. “Andrew has played an important role in the transformation of Are Media into an omnichannel media company, as well as the expansion of our market-leading magazine brands into new areas,” Huxley said.

Under Cook’s leadership, Are Media strengthened its position in the market with its portfolio of luxury, homes, lifestyle, and entertainment brands. His passion for the magazine industry and his commitment to delivering strong results for clients were key drivers of the company’s success.

“The year ahead promises to be an exciting one for Are Media and our partners, with many new initiatives across our portfolio,” Huxley added. “Andrew made a great contribution to our business and his passion for magazine brands and generating strong results for our clients have been a real asset. He leaves with our sincere thanks and our very best wishes for the future.”

The search for Cook’s successor is already underway, ensuring a smooth transition for the company as it continues to build on its momentum.

Cook’s decision to step down was motivated by a desire to spend more time with his family, marking the end of a transformative chapter for Are Media and its sales operations.

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.

Mark Geyer, one of rugby league’s legends, is making a big move in the media world. The NSW and Australian representative, 1991 Penrith Panthers premiership winner, and media veteran has signed a three-year deal with 2GB and Nine Radio, starting in 2025.

Geyer will join 2GB’s Sydney Now Drive program, hosted by Clinton Maynard, as a daily contributor, offering his distinctive blend of insight, humour, and passion. He’ll also bring his sharp commentary to the Continuous Call Team and Wide World of Sports programs, cementing his voice as a key player in Nine Radio’s rugby league coverage.

Geyer said: “I’m pumped to be joining the team at 2GB and very grateful for the opportunity. Some of the biggest names in radio have gone through those 2GB corridors, so it’s humbling to be a part of such an established team. Let’s rip in!”

Geyer’s addition aligns with his long-standing reputation as a proud Western Sydney voice and an experienced media personality. From hosting radio shows to providing commentary and analysis, ‘MG’ has built a loyal following both on and off the field.

2GB content manager Luke Davis, added: “‘MG’ is a league legend, an experienced media personality, a business owner, a voice of Western Sydney, and never short of an opinion,” Davis said. “We’re looking forward to his unique insights each day on Sydney Now and across the NRL season – further strengthening our top-rating Continuous Call Team line-up as we enter our 39th year on air.”

Geyer will work alongside some of the biggest names in sports broadcasting. The Continuous Call Team for 2025 includes returning members Paul Gallen, Darryl ‘The Big Marn’ Brohman, Mark ‘Piggy’ Riddell, Josh Morris, and lead commentator Mark Levy.

With the new NRL season on the horizon, 2GB and Nine Radio are gearing up to deliver unparalleled coverage for rugby league fans, and Geyer’s addition promises to bring fresh energy to an already stellar line-up.

Stay tuned to 2GB and Nine Radio for Geyer’s debut and all the latest in NRL coverage.

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.

Emma Chow is under no illusions as to the uphill ratings battle she’s about to confront, it’s just that she’s not letting herself get caught up in all the radio chatter — pun intended.

Last week it was announced that Chow would be joining Jimmy & Nath (Jimmy Smith and Nathan Roye) with the pair (and now trio) locked in to take over 2DayFM Breakfast in 2025. Accepting the coveted position meant Chow had to call it quits with her radio partner of more than 14 years, Mike E (Michael Etheridge).

“I guess you could say I’ve broken up a marriage,” Chow told Mediaweek. “Now I’ve gone on to become a third wheel in another marriage.” All jokes aside, Chow offered nothing but respect for her former co-host, revealing that while “it was obviously not the news that he wanted to hear” but “still wishes me the best”.

She continued: “We grew up together from our early 20s and have been through all the ups and downs that life brings, and I think that there’s a respect and a trust that you have with each other that if an opportunity comes up you’re happy for the other person.”

Chow revealed to Mediaweek that she was first approached by SCA chief content officer Dave Cameron who, according to Chow, “wanted a strong female voice for 2025”. The mother-of-two then knocked out a demo with  Jimmy & Nath which she said felt, surprisingly, “so natural”.

“It was amazing,” she said. “I didn’t expect it to be that natural and such a great fit, because going from two voices to three can be a bit of a juggle sometimes. You know, everyone wants to have their say and they want to be involved, but everything just flowed”.

It’s a formula SCA will be praying works, after going through seven different breakfast show variations since 2013, although for Chow, she believes the time slot invites pressure regardless of where the show is being broadcast from.

“There’s always pressure for breakfast, no matter what, but I think that this iteration of two day breakfast has a really strong chance of succeeding,” she said. “I really, really believe that, because the team is solid, and everyone’s headed towards the same goal, and we’re all on the same page, and we in it together.”

Pictured: Emma Chow

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.

Joe Aston is set to rejoin The Australian Financial Review as a monthly columnist while gearing up to launch his new publishing and podcasting venture, Rampart, on February 10.

Aston, who helmed AFR’s Rear Window column for 12 years before stepping down in October 2023, said the move allows him to balance creative independence with his connection to what he calls “the best newspaper in the country.”

“This is a great opportunity to forge my own path and build something truly unique in the Australian market, all while staying connected to what I consider the country’s best newspaper,” Aston said.

The announcement follows the release of Aston’s debut book, The Chairman’s Lounge, which delves into Qantas’ decline and sparked a political storm involving allegations against the prime minister over flight upgrade requests.

Aston took to social media to announce his new podcasting venture promising to bring audiences “the best analysis on Australian business and finance.”

The AFR’s editor-in-chief James Chessell praised the return of Aston saying his return is “a great thing for our audience”, while Financial Review editor Cosima Marriner said that Aston’s decision to return highlight’s the masthead’s “ability to maintain ties with key people after they step down from big jobs”.

As Zoe Samios reports in the AFR, Aston’s new agreement with the publication includes a revenue-sharing model and legal backing for his content. Retail subscribers can access Rampart for $65 monthly or $680 annually when paid upfront.

Aston has partnered with independent media outfit The Squiz to handle Rampart’s operations.

Pictured: Joe Aston

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.

Joe Aston is set to rejoin The Australian Financial Review as a monthly columnist while gearing up to launch his new publishing and podcasting venture, Rampart, on February 10.

Aston, who helmed AFR’s Rear Window column for 12 years before stepping down in October 2023, said the move allows him to balance creative independence with his connection to what he calls “the best newspaper in the country.”

“This is a great opportunity to forge my own path and build something truly unique in the Australian market, all while staying connected to what I consider the country’s best newspaper,” Aston said.

The announcement follows the release of Aston’s debut book, The Chairman’s Lounge, which delves into Qantas’ decline and sparked a political storm involving allegations against the prime minister over flight upgrade requests.

Aston took to social media to announce his new podcasting venture promising to bring audiences “the best analysis on Australian business and finance.”

The AFR’s editor-in-chief James Chessell praised the return of Aston saying his return is “a great thing for our audience”, while Financial Review editor Cosima Marriner said that Aston’s decision to return highlight’s the masthead’s “ability to maintain ties with key people after they step down from big jobs”.

As Zoe Samios reports in the AFR, Aston’s new agreement with the publication includes a revenue-sharing model and legal backing for his content. Retail subscribers can access Rampart for $65 monthly or $680 annually when paid upfront.

Aston has partnered with independent media outfit The Squiz to handle Rampart’s operations.

Pictured: Joe Aston

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.

Seven has extended its agreement with Disney Entertainment, securing the exclusive Australian broadcast rights for the Oscars® until 2028. This deal ensures that Seven and its streaming platform, 7plus, will remain the home of Hollywood’s most prestigious awards ceremony for the next three years.

This partnership includes live coverage of the 97th Oscars on Sunday, 2 March 2025, as well as the ceremonies for 2026, 2027, and the 100th Oscars in 2028. Seven’s coverage will also feature encore screenings in prime time, catering to Australian audiences who miss the live broadcast.

2025 Oscars lineup

The 97th Oscars will take place at the iconic Dolby® Theatre at Ovation Hollywood and will be hosted by Emmy® Award-winning comedian Conan O’Brien. The event will be televised live to more than 200 territories worldwide, and in Australia, Seven’s comprehensive coverage begins at 5.30am AEDT on Monday, 3 March.

Australian viewers can start their Oscars day with Sunrise and The Morning Show, leading into The Oscars Red Carpet Show at 10.30am AEDT. The live broadcast of the ceremony itself kicks off at 11.00am AEDT, airing on Seven and streaming nationally on 7plus.

Angus Ross, Seven West Media Group managing director, television, said: “Since 1929, the Oscars have recognised excellence in cinematic achievements. They are the pre-eminent film awards in the world. We are honoured to be the Australian broadcasting partner and delighted to extend our agreement. We’re particularly excited to be the local partner for the celebration of the 100th Oscars in 2028, which will be an amazing event.”

The production of the 97th Oscars will be led by renowned live television event producer Raj Kapoor as executive producer and showrunner, with Katy Mullan as executive producer and Hamish Hamilton returning as director.

Stay tuned to Seven and 7plus for all the Oscars action, as well as exclusive behind-the-scenes content and red carpet moments.

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.

NRMA Insurance has partnered with the Adelaide Fringe to create opportunities that connect artists with new audiences and bring the arts festival to new communities.

As a Presenting Partner, the insurance brand will match community donations across Adelaide Fringe’s philanthropic avenues, doubling contributions made at ticket checkout and through its Pay It Forward program.

Donations made through Adelaide Fringe’s foundation, Arts Unlimited, play a vital role in ensuring communities experiencing disadvantage have access to the magic of Adelaide Fringe. The foundation’s mission is to break down financial and social barriers to participation in the arts, creating opportunities for individuals who might not otherwise have the chance to attend.

“NRMA Insurance has been helping Australians protect what matters for almost 100 years, and through this partnership, we are proud to be supporting South Australia’s thriving arts sector and helping remove barriers to participation,” Michelle Klein, NRMA Insurance chief customer and marketing officer, said.

“With one in two South Australians attending Adelaide Fringe each year, this is an opportunity for NRMA Insurance to further demonstrate what A Help Company would do to support local communities.”
This represents another major South Australian partnership for NRMA Insurance who already partner with South Australian State Emergency Service (SA SES) to help South Australians prepare for storms and floods.

NRMA Insurance customers will also directly benefit from this partnership by receiving complimentary Fringe Memberships, which include access to two-for-one tickets across participating shows, exclusive deals and offers throughout the year, early access and much more.

Adelaide Fringe sees this partnership as integral to the growth of Adelaide Fringe audiences and values the support for artists and venues participating in the event.

Heather Croall, Adelaide Fringe director and CEO, said: “We’re thrilled to have NRMA Insurance join us as a partner this year, supporting our community and helping us achieve our mission of becoming the most inclusive festival in the world.

“Adelaide Fringe is a celebration of creativity, diversity, and the incredible energy that comes from bringing people together through the arts. Every year, our festival transforms South Australia into a hub of imagination and innovation, offering unforgettable experiences to audiences from all walks of life.”

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.

Woolworths and BIG W have teamed up with Minecraft to release Minecraft Cubeez, a new physical collectible for Australian customers to be launched later this month.

The retail partnership, starting 29 January, comes as Minecraft’s popularity continues to grow since its introduction into Australian schools for STEM-based learning, expansion into new gaming platforms and the anticipation of a blockbuster movie set to be released in April 2025.

Customers will be able to collect a Minecraft Cubeez free with every $30 they spend in a single eligible transaction in-store or online at Woolworths Supermarkets in Australia and New Zealand, BIG W, MILKRUN and select Woolworths Metro stores (excluding BIG W Market and Everyday Market).

Each pack contains one buildable cardboard block with 40 unique Cubeez to collect. Customers can build characters like Steve and Alex, creatures like creeper and Enderman, and iconic blocks such as the crafting table and diamond ore. Made from FSC-certified recycled paper, Cubeez is 100% kerbside recyclable in Australia.

“Minecraft Cubeez has been designed in a fun and interactive way for families to unleash their creativity,” Andrew Hicks, chief marketing officer for Woolworths Group, said.

“Blending digital inspiration and interactive play, the program promises to deliver an opportunity for avid Minecraft players and new fans alike to build their own Minecraft adventures, block by block in real life.

“We’re pleased once again to be making it easier for customers when they shop in-store or online to collect a Cubeez for free with every $30 spent in an eligible shop, with the collectibles program available in both Woolworths Supermarkets and BIG W.”

Federico San Martin, senior director of Minecraft Consumer Products, said: “We are thrilled to partner with Woolworths and BIG W, to bring this exciting retail partnership, Minecraft Cubeez to our Australian fans. This collaboration is a testament to the enduring popularity of Minecraft and its ability to inspire creativity and imagination both on and off the screen.”

A special collector case will also be available in store and online at Woolworths Supermarkets, Metro and BIG W for $10.

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.

Recently, there has been significant buzz around Xiaohongshu (XHS) (also known as RedNote), also known as Little Red Book or Rednote, as Americans seek alternatives to TikTok considering potential bans.

This growing interest has sparked global curiosity, among marketers and investors alike. It has also thrown the platform into a frenzy, with the native Simplified Chinese platform now having to cater for English users, while holding fast to its strict guidelines and T&Cs compared toother social media environments.

So why should Australian marketers care? Together with the potential of a rapidly increasing audience base (if English is established as a way forward) the platform in its current iteration authentically engages a sizeable audience of approximately 800,000 Chinese speaking Australians. With its 43% YOY growth from Dec ’23 to Dec ’24 it is fast becoming a vital piece of the ecosystem for any brand that seeks to communicate with all Australians.

Key considerations working with XHS

The platform is not straight forward, while there are certainly similarities to other global social platforms, there are several process and functional challenges (particularly the approval process), that can potentially make XHS difficult to navigate.

Do you need a brand account?

In short, yes. Though ‘need’ may be pushing it – it is certainly best practice. A brand account will benefit all future activities; including paid advertising, organic content, and KOL (key opinion leader) engagement. It will also give your brand a presence within the platform, supporting the authenticity of your engagement with the Chinese Australian community. There are methods that can be explored which will enable advertising without an account, however this is not recommended as a preferred option if you plan to interact with the platform regularly.

At the time of writing, XHS has advised they are seeking only to authorise off-platform links from official Brand accounts as an additional incentive for official accounts.

Cultural nuance in creative

As with any content, the message needs to resonate with its audience and be fit for the platform. With XHS this is particularly relevant as messages that adopt storytelling, capitalise on norms, aesthetics, and social trends, will increase its shareability.  This is key to engaging users on this platform (with high trust in recommendations from other users.) Creative considerations include both differences in language/meaning when translating assets, as well as optimising for the unique intricacies of the different formats within XHS.

How to get started?

Understanding the potential return for your brand will determine how much time and resources will need to be invested to navigate the nuances of XHS.

If you are an organisation that speaks to a core younger demographic (76% of XHS Australian user base is aged 18-40) or are in specific categories designed for the XHS experience (e.g. beauty, lifestyle, entertainment) – it is a no-brainer. For all other brands, especially those that speak to all Australians, it’s time to pause and reflect if/how a carefully considered diverse audience strategy reaching Chinese Australians can increase the effectiveness of your marketing dollar.

XHS is not for every organisation or brand, and as noted – there are barriers to entry and ongoing considerations. The most effective means to overcome the challenges of exploring XHS further is via understanding and pre-empting the needs and requirements on how your brand will interact with the platform and establishing a relationship with XHS (in China).

Ultimately, this is where brands will find the most value in engaging diverse media specialists.

What next?

It’s important to note just how robust XHS is. Investment is completely scalable, with best practice recommendations including a tailored approach that uses your brand account and consistently measures and optimises paid activity for effectiveness. This of course, would need to be paired with culturally relevant and resonant messaging for authentic engagement.

XHS’ aesthetically pleasing formats and unique-user experience from its open splash through its grid layout and static/video posts, provides multiple touch points from a paid perspective. A holistic strategy that factors organic content and KOL engagement is worth considering. Most importantly, consideration should be given to the impact of having a consistent presence on platform rather than focusing just on peak periods such as Lunar New Year.

Even without factoring in the speculated audience growth (if the English audience user base grows in Australia), there is certainly enough opportunity for most brands to consider an immediate presence on XHS, with a well-considered strategy likely to result in return that could rival other platforms.

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.

Swimming Australia and Nine have signed a historic ten-year partnership, locking in the nation’s most-watched Olympic and Paralympic sport on Nine’s platforms until 2034.

The deal guarantees free access for Aussie sports fans to more swimming action than ever, with coverage spanning the 9Network, 9Now, and Nine’s publishing platforms. Events include the Australian Swimming Trials, Short Course Championships, Age Championships, and Open Championships.

Kicking off with this week’s Australian Open Water Championships in Busselton, WA, the agreement cements Nine as the home of swimming. The network’s swimming coverage of the 2024 Olympic Trials reached 5.7 million viewers, delivering some of the most-watched moments of the Games. Looking ahead, fans can catch elite international events like the Pan Pacs in 2026 and 2030.

Swimming Australia CEO Rob Woodhouse hailed the partnership as a game-changer. “This unprecedented deal ensures our Dolphins shine on the global stage and inspires Australians to embrace swimming as a sport and a lifestyle,” he said.

Nine Acting CEO Matt Stanton added, “Swimming is a cornerstone of Australia’s Olympic success. With this partnership, Nine is proud to provide a platform that showcases the brilliance of our athletes as we head toward Brisbane 2032.”

Nine’s Director of Sport Brent Williams said the deal will spotlight both established stars and rising talent. “From iconic Olympic moments to fiercely competitive local meets, this partnership ensures swimming remains at the heart of Australian sports broadcasting.”

Swimming Australia’s Jodie Hawkins described the agreement as transformative. “Nine’s support will elevate swimming’s profile and ensure it continues to be one of Australia’s most-loved sports.”

This deal sets a new benchmark for swimming coverage, delivering unmatched accessibility and securing the sport’s place in the spotlight for years to come.

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.

Tennis Australia has launched a dedicated 24/7 free ad-supported streaming (FAST) channel on Samsung TV Plus, Samsung’s free streaming service, during the 2025 Australian Open (AO).

Tennis+ is now available on millions of Samsung TVs across Australia and New Zealand and will go live later this year across 17 territories worldwide.

The launch of the dedicated tennis channel during the AO is Tennis Australia’s first expansion into FAST, offering global fans a new way to access the game all year round.

Audiences can enjoy courtside action on Tennis+ with live daily studio shows, including AO BlueZone, which covers the biggest stories of the day alongside a rich archive of full matches, highlights, and press conferences from quarter-finals, semi-finals, and finals matches stretching back as far as 1975.

The launch of Tennis+ on Samsung TV Plus enables the sporting body to increase its reach and maximise engagement with global audiences. The introduction of tennis greats to a new generation of fans, including over 200 hours of feature content such as the brand new collection of AO Originals documentaries and player features, keeps pace with changing viewer habits.

“Partnering with Tennis Australia to create the first global, year-round destination for the Australian Open showcases how ad-supported services are beginning to reshape the TV landscape,” Ed Love, head of Samsung TV Plus ANZ & Southeast Asia, said.

“Sporting fans’ appetite for content they love goes way beyond live match fixtures, making FAST the ideal way to serve up hours of thrilling tennis action long after the tournament is over.”

Cedric Cornelis, chief commercial officer at Tennis Australia, added: “Samsung TV Plus offers us access to untapped audiences around the world, as well as an alternative route to viewers who prefer ad-supported streaming.

“Creating an accessible home for feature productions and a rich archive of iconic matches means we can bring our world-class tennis history to life on the big screen with audiences old and new.”

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.

Prime Minister Anthony Albanese has chosen The Squiz’s News Club podcast for his first in-depth interview of 2025. With his Labor Government seeking a second term, Albanese discussed his values, vision, and why he believes the Coalition is out of the running.

The move reflects a growing trend among politicians to embrace podcasts for direct voter engagement, following the US presidential race’s podcasting strategy. Squiz Media founder Claire Kimball said podcasts are now a go-to platform for leaders to connect with audiences beyond traditional media.

“The Squiz has built a loyal audience over nearly seven years, offering news content legacy broadcasters no longer monopolise,” Kimball said. “We’re agenda-free, conversational, and proud to be the PM’s choice to launch his podcasting efforts.”

Podcasting’s trust factor plays a big role, with 70% of listeners saying they trust the medium, compared to 48% for traditional media (Edelman Trust Barometer). Meanwhile, 94% of The Squiz audience surveyed emphasised the importance of independent media in a balanced news diet.

“It’s officially the podcast election,” said The Squiz host Kate Watson. “The PM choosing us highlights just how influential independent media has become.”

In the exclusive hour-long episode, Albanese critiqued traditional media for being predictable and overly partisan. “There’s less news and more opinion, which I think is problematic. It’s just a cheer squad for one side of politics, and that makes it less influential,” he said.

Catch the full interview now on The Squiz’s News Club channel, available wherever you listen to podcasts.

Pictured: Anthony Albanese, Claire Kimball and Kate Watson

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.

I’m A Celebrity… Get Me Out Of Here! national marketing campaign was everywhere, all at once during the festive season, building broad awareness and excitement for audiences of all ages to swing into the jungle.

Network 10 claims the results for Sunday night’s premiere, up 12% on 2024 and its biggest launch since 2022, plus episode two up 16% year-on-year, show the campaign was a success, drawing in fans of every age to see which celebrities were heading into camp and up for creepy crawly chaos.

“It was challenging to be able to reach people during the busy holiday season and to also capture their attention when everyone is traditionally taking a break.,” Andreana Walton, head of marketing, broadcast and digital at Paramount Australia, said.

“Our strategy was to take the fun to our viewers, wherever they were spending their time, be that at home, at events, or holiday hot spots, so the excitement and playfulness of I’m A Celebrity… Get Me Out Of Here! became a positive, engaging and interactive part of their experiences and celebrations.

“My team and I have pushed ourselves to be as creative and impactful as possible and collaborated with our media agency Wavemaker, as well as various activation, partnership and event stakeholders, to find clever ways to cut through and connect with our target audiences.”

From TikTok filters, an extensive digital and social campaign, competitions, radio, outdoor, cinema, to events and grassroot activities with bespoke merchandise giveaways, we literally had something for everyone in this campaign.

Additional key experiential marketing activities included:

• an I’m A CelebrityI-Screeeeam Van, visiting popular areas in Brisbane, Gold Coast, Sydney and Melbourne, handing out I’m A Celebrity themed ice creams and activity books;
• sponsorship of the Parramatta New Year’s Eve Festival where more than 70,000 attendees such as families, millennials and music lovers, enjoyed a themed rock-climbing wall, a competition to scream out ‘I’m A Celebrity… Get Me Out Of Here!’ to win merchandise;
• an outdoor cinema sponsorship in Sydney and Melbourne featuring a themed photo wall, safari-clad staff, face painting and a pop-up jungle popcorn bar with branded popcorn boxes and bug lollies;
• activations in popular shopping centres giving people the chance to pose with a live snake or participate in the iconic I’m A Celebrity Hell Hole Challenge;
• a partnership with Australia Zoo, with a promo played prior to each show in the Crocoseum, branded cups across the park and photo opportunities with interactive signs.

The show also had a digital and social campaign with a branded effect on TikTok giving users the chance to star in their own version of the I’m A Celebrity… Get Me Out Of Here! opening credits, with influencers and past celebrities joining in. This, along with paid activity on TikTok alone racked up more than 9 million impressions in the lead up to launch, far exceeding expectations.

An extensive outdoor campaign aimed to be in as many places as possible, with shopping centres, street signage, trains and tram wraps, buses and even branded rickshaw pedibikes transporting people to the Australian Open.

The popular Celeb Guess Who? competition was also back encouraging people to log onto the 10 Play website and guess who was heading to the jungle to win a dream trip for four to South Africa.

“This is just a little slice of the campaign we delivered, and we’re incredibly proud of the impact we’ve had attracting viewers to the show,” added Andreana.

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.

Club Med has appointed Hopeful Monsters as its creative partner across Australia and New Zealand.

The independent creative agency will manage all creative communications for the brand, driving demand for all-inclusive stays and positioning Club Med as a bucket list destination for the ANZ market, supporting the brand’s mission to create unforgettable holiday experiences.

“Hopeful Monsters’ response went beyond our expectations, combining strategic insight with bold creative thinking that perfectly aligned with our objectives,” Luca Postiglione, head of marketing at Club Med Pacific, said.

“Their team demonstrated a deep understanding of our brand evolution and future direction, presenting ideas that were both innovative and practical. The natural chemistry and shared vision we experienced made them the clear choice. We’re excited to begin this partnership and bring their transformative ideas to life.”

Katie Barclay, CEO at Hopeful Monsters, added: “All-inclusive holidays started with Club Med way back in 1950 and while the concept of all-inclusive has changed a lot since then, Aussies’ perceptions haven’t.

“With Club Med completing a shift to a 100% upscale offering in April of last year, we’re here to help change that – from all-you-can-eat buffets to all-you-desire luxury experiences, kicking off with a pop-up office in the Maldives… one can dream!!”

The Club Med win follows a string of great results for the agency, which is set to celebrate its second birthday this year.

Hopeful Monsters welcomed multiple new clients to its portfolio, which includes NFL, Adobe, Converse, Resmed and RSPCA.

Last year, not-for-profit organisation End Food Waste Australia and the creative agency Hopeful Monsters launched its nationwide campaign, ‘The Great Unwaste’.

The collaborative food waste campaign aims to speak to Australian households and has been designed to unite people across the country in a movement to reduce food waste collectively.

The campaign demonstrates how relatable and easy-to-adopt lifestyle changes can significantly reduce the amount of food households throw away, saving money and creating a more sustainable future for Australia.

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.

Wonderful is evolving to meet growing client demand by expanding into a full-service customer experience (CX) agency.

The independent agency, founded in 2022 by Matt Barbelli, offers to engage customers at every touchpoint and integrate technology, data, creativity, and performance.

Barbelli, managing director of Wonderful, said: “Too often, we see businesses operating in complex environments that result in fragmented and disjointed customer experiences. At Wonderful, we go beyond addressing immediate needs by diving deep into understanding the customer and aligning company-wide strategies.

“Our goal is to ignite meaningful business transformation, ensuring customer experience becomes a sustainable, long-term advantage rather than a temporary fix. In an age where artificial intelligence is revolutionising how businesses interact with customers, we are leveraging cutting-edge AI tools and insights to create more personalised, seamless, and scalable experiences.”

Wonderful will leverage technology, from tools like Sanity and CRMs like Salesforce to AI-powered automation, to optimise customer experiences. By analysing engagement patterns, satisfaction metrics, and conversion rates, we pinpoint pain points, refine touchpoints, and ensure every interaction adds value.

“This ensures that interactions—from ads to interfaces—are relevant, engaging, and consistent with the brand promise,” Barbelli said.

He added that the expanded service offering will integrate deeper insights into user behaviour with data and advanced technology, which will enable consistent and connected customer experiences.

“Services now range across brand and performance marketing, experience design and technology implementation. We see our role as untangling the complexity of the modern customer experience and enabling businesses to thrive in an ever-evolving, technology-driven landscape.”

Alex Moyse, head of experience at Wonderful, added: “As we look ahead, our clients’ needs for integrated, seamless customer interactions continue to grow. This evolution reflects our commitment to meeting those demands by delivering end-to-end solutions – from initial brand awareness through to conversion. Our focus remains on putting the customer at the centre of every strategy.”

–

Top image: Alex Moyse and Matt Barbelli

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.