Elon Musk’s social media platform X has escalated its legal battle against major advertisers, adding global brands including Nestlé, Lego, Abbott Laboratories, Colgate-Palmolive, Pinterest, Tyson Foods, and Shell to an existing lawsuit alleging an unlawful advertising boycott.

The amended complaint, filed in a Texas court on Saturday, builds on a case initially launched in August 2024 against the World Federation of Advertisers (WFA), CVS Health, Mars, Ørsted, and Twitch. X claims these advertisers, under the now-defunct Global Alliance for Responsible Media (GARM), conspired to “collectively withhold billions of dollars in advertising revenue” following Musk’s takeover of the platform in late 2022.

According to X’s filing, the WFA and its GARM initiative pressured members to pull advertising from the platform due to concerns about Musk’s approach to content moderation. The company argues this coordinated action amounted to anti-competitive behaviour, significantly damaging its advertising revenue and competitiveness in the digital ad market.

The alleged boycott

X contends that at least 18 members of GARM ceased advertising on the platform between November and December 2022. The lawsuit claims this was an attempt to coerce X into adhering to GARM’s brand safety standards, which the social media company alleges were selectively enforced.

Originally founded in 2019, GARM was designed to provide voluntary brand safety guidelines for advertisers, media owners, and agencies. Many major brands and agencies adopted these frameworks, which dictated what types of content should be avoided in advertising placements. X itself was a previous member of GARM before the lawsuit.

However, in response to X’s legal challenge, GARM discontinued operations in 2024, citing the financial burden of defending itself against the lawsuit. The WFA has denied any wrongdoing, stating it adheres to competition law and planned to contest the lawsuit.

Musk’s war on the advertising industry

Since acquiring Twitter for US$44 billion in October 2022 and rebranding it as X, Musk has implemented radical changes, including reinstating previously banned accounts and reducing content moderation. These moves prompted many advertisers to pause or withdraw their spending on the platform, contributing to a sharp decline in ad revenue. Reports indicate that X has lost 50 of its top 100 advertisers since Musk’s takeover.

The lawsuit argues that advertisers should not be allowed to collectively dictate brand safety standards in a way that restricts competition among social media platforms. “But collective action among competing advertisers to dictate brand safety standards to be applied by social media platforms shortcuts the competitive process and allows the collective views of a group of advertisers with market power to override the interests of consumers,” X’s legal team stated in the complaint, as reported by NPR.

A broader battle in the advertising industry

X’s lawsuit isn’t the only legal challenge facing the advertising sector. The WFA, alcohol giant Diageo, and ad agency holding company WPP are also being sued by video platform Rumble, which alleges a similar conspiracy to restrict advertising on select social platforms. Meanwhile, US House Judiciary Committee chairman Jim Jordan is investigating whether the industry’s participation in GARM led to the demonetisation of conservative media.

Mediaweek has reached out to the companies involved for comment. At the time of publication, X, Nestlé, Abbott Laboratories, Colgate-Palmolive, Lego, Pinterest, Tyson Foods, and Shell had not responded.

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Since his sudden and unceremonious axing from the Australian Radio Network (ARN), Mitch Churi has been spending his time ruminating on, well, many things.

From the initial shock of being told he no longer had a job with the station he “gave his entire youth to”, Churi told Mediaweek, he now views the event as an opportunity.

There was, however, one person in particular Churi revealed was “beyond kind and gracious” after learning of his redundancy: Kyle Sandilands.

“I spoke to both Kyle and Jackie O and they both said they were gutted and shocked and didn’t think it was fair,” Churi said.

Churi said Sandilands also took time to offer him something of a reality check: “He reminded me that this is the industry. If you think of any radio presenter, especially on commercial radio, they’ve all been sacked at one time or another – it even happened to Kyle back in the day.”

The chat, in turn, confirming one of radio’s worst-kept secrets – that King Kyle’s bad guy of radio act is just that, an act. “He was beyond kind and gracious and offered to do whatever he could to help me get work,” a clearly flattered Churi said.

The affable 29-year-old also told Mediaweek that despite no longer being part of The Pick Up – the show he used to host with former reality TV stars Laura Byrne and Brittany Hockley, not a day has gone by without the trio catching up with each other.

“They are my best friends” he said. “I love them, I love them. We talk every day. And you know, working together is not over. I’m coming back with them on their podcast – so there’ll soon be a way to consume the three of us again,” Churi joked.

As for the future, Churi revealed he was “putting a lot of time and energy” into his real passion, TV, after being named as a finalist for ACCTA’s Reg Grundy Award.

The prize? $50,000 to create and make a new piece of unscripted television.

Churi’s idea? What else – The Mitch Churi Chat Show.

“I’m currently working on a treatment, and I’ve got a pitch together,” he revealed to Mediaweek.

“It’s basically a Graham Norton style chat show, and I’m currently putting together a treatment. Hopefully I can get a pilot off the ground and we can shop around to networks.”

“I kind of got into radio to end up in TV, so it all kind of feels like … the timing is just right,” he said.

The winner of the award will be announced on 7th February at the ACCTA Awards.

Pictured: Kyle Sandilands and Mitch Churi.

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Nine has tapped Julia Edwards as its new director of programmatic sales, tasking her with driving growth across BVOD, audio, and publishing.

Edwards joins from Uber Advertising, where she led Strategic Verticals and CPG, and will now oversee Nine’s programmatic team, focusing on sales strategy, revenue growth, and market expansion across 9Now and the network’s digital assets.

She reports to Nick Young, who is the commercial director – digital. Of Edwards’ appointment, Young said: “I am thrilled to welcome Julia to Nine. With her depth of experience across the media industry and expertise in the programmatic space, she will be pivotal in driving our business forward across 9Now, Publishing and Audio.”

Regarding her appointment, Edwards said: “I’m thrilled to be a part of Nine’s growth, helping connect programmatic advertisers with premium inventory across Nine’s video, audio, and publishing assets. Together, we will be focused on driving transparency, collaboration, and effectiveness in the dynamic world of total media.”

With deep industry experience, Edwards has held leadership roles at Yahoo, Foxtel’s MCN, Seven, and Everguide, making her a key player in Nine’s digital push.

Edwards’ appointment comes off the back of the company’s announcement that Amanda Laing would take over as managing director of the streaming and broadcast division, bringing together Stan, 9Now, Broadcast Television, and Radio, as the group accelerates its strategic transformation with an operating model reset and a new executive team.

The network’s refreshed operating model will more effectively leverage the Group’s portfolio of premium media assets, simplify business operations, reduce duplication, and provide greater accountability.

The updated operating model will help deliver the Group’s Integrated Audience Platform strategy while strengthening Nine’s operational and financial performance. It will underpin Nine’s plan to reduce its cost base by a further $50 million in FY25 and enhance profitability through greater utilisation of the business’s premium assets.

As part of Nine’s strategic transformation program, the business will be streamlined into three consumer-focused divisions: Streaming and Broadcast, Publishing and Marketplaces.

Pictured: Julia Edwards

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Virgin Australia recognised the need to transform its brand perception and branch out from traditional campaigns to stay relevant with millennial and Gen Z markets.

The recently released ‘Bring on Wonderful’ campaign was the culmination of that change that saw the airline turn to TikTok to redefine its digital strategy to engage with a new generation of travellers.

“We have moved from feeling ‘uncomfortable’ to feeling ‘brave’ about trying new approaches,” a Virgin Australia spokesperson told Mediaweek.

Mediaweek looks at the partnerships behind Virgin Australia’s campaign, the outcomes that trumped the hesitations and the results for the airline’s brand.

‘We all brought different strengths’

Virgin Australia’s aim was to redefine the flying experience with uplifting and innovative services. However, the airline recognised that TikTok was a platform where travellers were consuming content and where the brand needed to be to engage with millennial and Gen Z markets.

Virgin Australia began its journey in 2021 with TikTok. It partnered with PHD to draw on authenticity, trends, and user and employee-generated content.

“Our partnership with TikTok and PHD was truly collaborative. PHD helped us develop a clear testing plan and measurement approach, while TikTok provided the platform expertise we needed,“ the Virgin Australia spokesperson said.

“We worked closely together to transform our traditional marketing into content that would resonate on TikTok. What made it work was how we all brought different strengths – PHD guided our strategy, TikTok understood their platform, and we were willing to try new approaches,“ they added.

Letting creativity flow

The Virgin Australia brand hesitated to shift from its usual approach because it had “never diverted from our brand guidelines before.”

Part of the new approach for the airline was teaming up with creators, including @whenkatiemetharry, @nickandhelmi and @danawang through the TikTok Creative Exchange and Vamp.

“We worried about brand safety and weren’t sure about letting creators have so much freedom with our messaging,“ the airline’s spokesperson said.

But PHD and TikTok provided support with successful case studies, helped with testing – which yielded positive results – and gave the airline brand confidence to try a different approach.

By giving creators complete creative freedom, the airline could step outside its comfort zone and let these influencers tell authentic, engaging stories that resonate with viewers.

The airline said its biggest lesson was to trust creators because they know their audience and how to tell the story in a way that resonates with them. “Creating content specifically for TikTok works much better than trying to repurpose our traditional ads. Now, we even invite creators to our shoots to get behind-the-scenes content that fits TikTok’s style.”

The importance of a step-by-step approach

This collaboration between the agency, platform and brand led to the ‘Bring on Wonderful‘ campaign. The TV commercial was recut and remixed to TikTok’s audience and launched on in-feed auction ads.

A Brand Lift Study revealed Virgin Australia’s ads had a 23.8% rise in ad recall, a 6.1% lift in brand awareness, while consideration went up by 3.8%. “The key to this success was our step-by-step approach,“ the Virgin Australia spokesperson said.

“We started small, tested different content types, measured everything carefully, and built trust with creators. Having both PHD and TikTok’s support throughout this journey was essential.”

The ‘Bring on Wonderful‘ platform has delivered strong results for the airline since its launch. Last year, the platform had a creative evolution focusing on exceptional service and a wonderful experience.

“We’ve seen a 21% baseline increase in top-of-mind awareness, achieved through five key bursts of campaign activity, which is an impressive outcome that demonstrates the effectiveness of the campaign in elevating the brand’s visibility and engagement with consumers,“ the spokesperson said.

“We’ve also seen consistent increases in spontaneous awareness and brand consideration with each burst of campaign activity, frequently achieving above our campaign KPIs,“ they added.

Looking ahead and pushing the boundaries

Virgin Australia said it is working on plans for the year ahead and that the airline’s success on TikTok has demonstrated “the value of being brave on new platforms and trusting their creator partnerships.”

“We’ll continue focusing on authentic content that connects with our next generation of travellers, and we’re excited to keep pushing boundaries in the digital space,“ the spokesperson added.

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The Australian has rolled out a brand refresh, giving its digital and print platforms a modern, unified identity.

As part of its Welcome to the Contest of Ideas evolution, the revamp will mark the next phase in aligning its brand identity across digital and print with new section headings, names, journalist headshots and a refreshed colour palette to harmonise the brand’s premium look and feel across the portfolio.

Key changes include The Australian Weekend Magazine, which will officially rebrand from the 8th of February, alongside design tweaks to elevate its high-profile columnists and features.

Subscribers can also expect revamped newsletters and upgraded digital graphics, rolling out across The Australian’s website and app in the coming weeks.

The Australian’s editor-in-chief, Michelle Gunn, said: “These changes, which create a unified and elegant look for all of The Australian’s array of titles, showcase the breadth and depth of our content.

“Our suite of magazines, our daily and weekend news titles, and the multitude of sections within, will offer a clean design, identifiably belonging to The Australian. As a paper that has led the way in newspaper design, this refresh will show our best face to readers and advertisers.”

The Australian’s managing director and publisher, Nicholas Gray, said: “Our investment in these design enhancements and premium look and feel is the next phase in truly aligning The Australian’s brand identity across digital and print.

“This follows The Australian’s digital audience reaching 3.842 million* in December, our biggest for 2024, along with growing to our highest ever number of digital subscriptions. The results reflect a focus on audience engagement, subscription growth and digital storytelling, including the recent launch of Health & Wellbeing, The Australian’s new, digital-first section.”

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The votes are in, and Australia has spoken! The highly anticipated 2025 AACTA Audience Choice Awards finalists have been revealed, showcasing the nation’s most beloved stars across film, television, and digital platforms. With fan-favourite actors, media personalities, and digital creators vying for top honours, this year’s awards promise to be one of the most exciting yet.

Celebrating Australia’s best in entertainment

The AACTA Audience Choice Awards give Australian fans the power to decide who takes home the top honours across six categories: Favourite Film, TV Show, Australian Actress, Australian Actor, Australian Media Personality, and Australian Digital Creator. As the countdown to the big night begins, the competition is heating up, with some of the biggest names in entertainment making the cut.

The digital creators shaping Australian entertainment

Australia’s Favourite Digital Creator category celebrates the content creators who have built massive online communities. This year’s finalists include returning stars Indy Clinton, Bridey Drake, Luke and Sassy Scott, and Maddy MacRae, alongside first-time nominees Jiny Maeng and Olly Bowman. Chloé Hayden, who won Favourite Actress at the 2022 AACTA Awards, is once again in the running for both Favourite Australian Actress and Digital Creator. Esmé Louise James also secures her second nomination, solidifying her influence in the digital space.

The 2025 AACTA Audience Choice Award for Favourite Australian Media Personality is packed with household names who continue to captivate audiences. This year’s finalists include beloved TV icons Abbie Chatfield, Sophie Monk, and Jimmy Rees, as well as returning nominees Dr Chris Brown, Hamish Blake, and Robert Irwin, all of whom have made significant contributions to Australia’s entertainment industry.

Hollywood heavyweights and Australian icons dominate the Favourite Actress and Actor categories. Cate Blanchett, Margot Robbie, Nicole Kidman, Celeste Barber, Chloé Hayden, and Phoebe Tonkin will battle it out for Favourite Australian Actress. Meanwhile, in the Favourite Australian Actor category, Liam Hemsworth and Chris Hemsworth go head-to-head with Hugh Jackman, Jacob Elordi, Travis Fimmel, and Will McDonald for the top honour.

Top films and TV shows vying for fan favourite status

From homegrown Aussie hits to international blockbusters, the Favourite Film and TV Show categories are packed with must-watch titles.

Favourite TV show nominees:

• Boy Swallows Universe

• Bridgerton

• Emily in Paris

• Heartbreak High

• Heartstopper

• Outer Banks

Favourite film nominees:

• Deadpool & Wolverine

• Inside Out 2

• It Ends With Us

• Moana 2

• Twisters

• Wicked

When and where to watch the AACTA Audience Choice Awards

The winners of the 2025 AACTA Audience Choice Awards will be unveiled at the prestigious AACTA Awards, presented by Foxtel Group, on Friday, 7 February 2025, at HOTA on the Gold Coast. Australian viewers can tune in to the awards ceremony live on Channel Ten at 7:30 PM AEDT, with an extended broadcast available on BINGE and Foxtel on-demand from 7:30 PM on Saturday, 8 February. International broadcast details will be announced soon.

For the full list of 2025 AACTA Award nominees click here.

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In today’s fast-moving and unpredictable landscape, media agencies are faced with a crucial question: Are we cultivating an agile workforce that can thrive amidst constant change?

Overly rigid organisation design and structures now risk becoming relics of a bygone era. It’s time we reassess our approach to agility, not as just a buzzword, but as a transformative force integral to every aspect of our operations.

In an age where speed is the ultimate determinant of success, sticking to legacy structures and inflexible frameworks can stifle our ability to respond to shifts in the market. We must ask ourselves: How do we embed agility into the fabric of our agency’s everyday culture and operations to ensure we remain focused on outcome-based deliverables?

The Need for Continuous Innovation

At the heart of this challenge is the need for consistent innovation. Agencies are rich with established norms and principles built into our operating rhythm – such as strict service level agreements with lengthy timelines. But as customers, categories, and our client’s businesses evolve, these very methodologies can become cumbersome barriers to an effective partnership.

Establishing a culture where high performance, autonomous decision-making, and swift delivery are expected standards is key. More and more we must focus on transcending the limitations of traditional service level agreements, instead building an environment where our teams are motivated by agile principles which emphasise a rapid and iterative progress.

Being an agile organisation is about the ability to adapt to new market requirements quickly, underlined by one key factor – being customer-centric at the heart.

Perspective to Drive Greater Impact

True impact comes not from executing perfect internal processes, but from consistently making a positive difference for our clients by striving for excellence. It is about being an adaptive, flexible and a cohesive team.

Agencies can be fixated on these internal processes, becoming distracted from their ability to drive transformation. However, the essence of an agile culture is to keep the focus on the client’s evolving needs and adapt internal practices to meet those needs effectively.

Having talent with diverse skillsets collaborating on projects enhances problem-solving and fits in with clients’ way of working. This flexibility to quickly adjust to changing task requirements and market conditions, such as omnichannel and the growth of retail media, through modifying our approach increases productivity.

Overhauling Technology for Everyday Progress

Technology drives progression. Revisiting an agency’s operating model requires a reassessment of our technological infrastructure to evaluate its ability to enhance speed, accuracy, and flexibility in delivering solutions. Agile workplaces excel in utilising next generation technologies to tailor products and services to client needs, while anticipating the future demands that will shape the industry.

Such workplaces go beyond extensive automation, prioritising real-time insights and minimising reliance on long-standing workflows. This includes leveraging the latest developments in AI to always be ahead of the curve, starting small in its integration and then letting the adoption and expansion spread.

While the pressures of daily operations are real, they should not blind us to future opportunities. Building a culture of strategic foresight involves appointing leaders who foster continuous learning and innovation by creating transformational roadmaps that guide us towards new avenues for growth.

Embracing agility may be challenging, but it is essential for long-term success. By integrating agility into our core practices, we set ourselves on a path toward sustainable growth and resilience in an ever-evolving industry.

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The Independent Media Agencies of Australia (IMAA) has reached 45 media partners for 2025, and welcomed seven new partners, all dedicated to supporting the nation’s independent media agency sector.

The organisation received more than 30 media applications for the program, keen to work alongside the organisation. The 2025 partner line-up includes seven new media partners, along with 38 returning media organisations who have reaffirmed their commitment to the IMAA. Many partners have been with the IMAA since its 2020 inception, celebrating five years with the organisation this year.

The IMAA has announced new partners atn, Channel Factory, DoubleVerify, REA Group, Uber Advertising, Urban List, and Vistar Media.

The IMAA also welcomed returning media partner supporters: ACM, Amazon, ARN, Audience360, Bishopp, BlisMedia Australia, Cartology, COOL Media, Crimtan, Criteo, Foxtel Media, GoTransit, Gumtree Media, GWI, IAS,  JCDecaux, LinkedIn,  Mamamia, Meta, News Corp Australia, Nexxen, Nine,  Nova, oOh!media, Paramount+ (Network 10), Pinterest, QMS, Reddit, SBS, SCA, Scentre Group, Seven Network, StackAdapt, Taboola, TikTok, Tonic Media Network, Val Morgan and Weatherzone.

IMAA CEO, Sam Buchanan, said: “It is an honour to have such a strong calibre of media partners supporting the IMAA in 2025. This year, we decided to cap media partner numbers at 45 – it means all our media partners are now part of an exclusive club, with access to some of the best indie agencies in the country.

“Demand to be part of the IMAA is now outstripping media partner positions available which is testament to the strength of our organisation and our reputation for delivering results for our members, and the veracity of the indie agency sector nationally.

“Many of our media partners have been long-time supporters of the IMAA, working alongside us since our 2020 inception and we are indebted to them for their years of support. I’m also excited to introduce our seven new partners in 2025 who join our existing media partners reaffirming their commitment to the IMAA this year. We’re looking forward to the year ahead and the continued dominance of the independent media agency industry across the nation.”

Karen Holmes, atn national sales director, said: “Independent media agencies are a driving force in Australia’s media landscape, and we’re proud to support this fast-growing sector with trusted, high-quality ad solutions that ensure brands capture attention in premium environments, and at scale. We look forward to collaborating with all IMAA members to drive meaningful results for advertisers and support the IMAA in making the industry a better place.”

Channel Factory is a global, independent ad tech company, dedicated to helping brands and agencies successfully advertise on social media. James Rose, Channel Factory managing director, said: “Channel Factory is delighted to be joining the IMAA community. We have always placed great importance on fostering strong partnerships and deeply value the critical role independent agencies play in both our business and the wider media ecosystem. We’re proud to support the innovative efforts spearheaded by Sam and the team and look forward to working together to contribute to the continued success and vibrancy of our industry.”

DoubleVerify is a leading software platform for digital measurement and analytics. Conrad Tallariti, senior vice president and managing director Asia Pacific, said: “Joining the IMAA represents a valuable opportunity for DoubleVerify to collaborate with its dynamic network of independent agencies. By working together, we aim to drive greater media transparency and performance, working with IMAA members to help their clients navigate the complexities of the digital advertising ecosystem.

“We are committed to supporting advertisers in uncovering new strategies to maximise the impact of their media investments, ensuring they achieve measurable success in an ever-evolving landscape.”

REA group national sales director, Rob Hudson, said: “We’re thrilled to partner with the IMAA and collaborate more closely with independent media agencies. This partnership underscores our commitment to fostering innovation and driving growth within the media landscape and we look forward to positively contributing to the sector in 2025.”

Uber head of advertising sales, ANZ, Michael Levine, said:  “Joining forces with the IMAA provides an exciting opportunity to connect with and support Australia’s independent media agencies. At Uber Advertising, we are focused on delivering magical experiences for consumers and strong outcomes for advertisers, offering brands solutions to capture the attention of ready-to-purchase consumers. This partnership represents a shared commitment to shaping innovation and excellence in our industry.”

Urban List chief commercial officer, Jacqui La’Brooy, said: “At Urban List, we’re thrilled to join the IMAA to champion the strength and innovation of independent agencies. The IMAA’s dedication to fostering a more diverse, inclusive, and forward-thinking media landscape resonates deeply with our values. We’re excited to contribute to this dynamic force, working together to empower independents with creativity, market insights, and results-driven solutions that drive meaningful impact.”

Digital out-of-home (DOOH) ad tech firm Vistar Media is home to more than 1.1 million digital screens globally, serving more than 3,000 brand partner advertisers. Its managing director, APAC, Ben Baker, said: “Vistar Media is excited to partner with IMAA to bring the power of programmatic DOOH to its vibrant network of independent agencies. This collaboration represents a unique opportunity to drive innovation, share expertise, and deliver measurable results for clients. We look forward to working alongside IMAA members to elevate the out-of-home advertising space and unlock new growth opportunities for the independent sector.”

The media partner announcement comes as the IMAA prepares for a big year ahead, with new events like its upcoming Indie-Pendence Day conference and the Byte series, along with the return of its highly successful Pitch-Chella and the Female Leaders of Tomorrow Programme.

IMAA industry body partners include Boomtown, Commercial Radio & Audio, Outdoor Media Association, ThinkTV, and Think News Brands. In addition, SBS is the organisation’s official diversity and inclusion partner, providing D&I training to member agencies.

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Radio giant Kyle Sandilands has dropped a bombshell on his KIIS FM breakfast show, The Kyle and Jackie O show, revealing he’s set for immediate brain surgery after being diagnosed with a brain aneurysm.

The 53-year-old shared the news with listeners, saying doctors told him the condition requires urgent attention.

He announced: “On Friday, I was told by my medical team, which sounds like I’m already very sick, to have a medical team, that I have a brain aneurysm and it requires immediate attention, brain surgery.

“If you just tuned in after all these years, lap it up. And if you’re in Melbourne, you may get your wish – I might be dead,” Sandilands said, keeping things darkly comedic despite the serious diagnosis.

Sandilands co-host Henderson urged him to “think positive,” to which he replied: “That doesn’t work in real life.”

Explaining the condition, he compared it to a “bike tire with a big bubble”, warning that if it bursts, he could end up “a vegetable in a wheelchair, or dead.”

“It’s not a blockage. It’s like, imagine your blood vessel is the garden hose, and the garden hose is weak and it blisters out like a big bubble, you know, like a puncture in it, like a bike tire with a big bubble that bubbles the aneurysm, so it’s not blocked,” he said.

Sandilands was absent from the show last week, now revealing his medical team had been investigating persistent headaches. “The headaches that come … and I can be here for a week and then bang, it could be any day of the week, on the weekend,” he said.

He is expected to be off-air for up to eight weeks as he undergoes surgery. “They might go in keyhole, or they might have to cut open my skull – either way, I’ll be out for a bit,” he said.

It’s not the first time Sandilands’ health has made the headlines.

This latest scare comes as the radio giant behind the duo, The Australian Radio Network (ARN), continue to defend their decision to sign the pair on a $200m talent deal, despite their lacklustre debut in Melbourne.

By the end of 2024, the show continued to struggle in Melbourne, finishing the year in eighth spot with just a 5% market share.

Time will tell if this new drama will play any part in their planned continued push to take their show national.

Pictured: Kyle Sandilands

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The head of Nine Radio believes the station has what it takes to continue its rating dominance in 2025 – after ending 2024 as it started – claiming the number one spot for breakfast in both Sydney and Melbourne.

Managing director Tom Malone told Mediaweek the organisation has “been on a bit of a transition for the last four months” where they’ve “reshaped the business to make sure there’s a real laser-like focus at station level around content”.

The transition saw Nine Radio make a series of leadership changes impacting both 2GB in Sydney and 3AW in Melbourne.

A revamped structure will see the company’s current head of content, Greg Byrnes, move into a new role as 2GB Sydney’s station manager. Byrnes will also take on the role of national content manager. “Byrnes will have a real focus on 2GB’s audience and its presence in the local market,” Malone explained.

One of Byrne’s first orders of business was the signing of veteran radio broadcaster ‘Ugly’ Phil O’Neil, who is stepping away from Mornings on GOLD101.7 to take on Overnights on 2GB and 4BC.

Byrne’s told Mediaweek O’Neil is an excellent addition to their line-up as “he understands the craft of making great radio”. Byrne’s is also realistic that it may take time for an FM personality to gel with their AM audience, but he’s not worried.

“He just has to get to know our audience, and our audience has to get to know him,” he said.

“That’s not going to happen straight away. That will take time to develop, but in those early hours of the morning, it’s a wonderful opportunity for both sides, because there’s time to talk and there’s time to chat.”

But the changes for Nine Radio don’t end there.

Luke Davis, who is 2GB’s current content director, will now move into a role as promotions and community manager. Malone said Davis’ appointment is obvious due to his “unique skill set”. Meanwhile in Melbourne, Nine Radio’s current marketing manager, Chelsea Barrett, will take on the same role as Davis for 3AW.

Malone said their appointments came after they took “a really good look at the business”.

“What we’ve done is make sure we’ve got the right structure with the right resources and the right roles to make the next few years as successful as possible,” he said.

A recruitment process will also get underway at Nine Radio for new promotions and community managers at Brisbane’s 4BC and Perth’s 6PR.

The changes at Nine Radio come off the back of a major leadership shake-up undertaken at the Australian Radio Network (ARN), that will see Duncan Campbell will step down from his role at ARN following a period of transition within the company.

Campbell’s title will remain as chief content officer until a changeover occurs, with Lauren Joyce, the current chief strategy and connections officer, set to take the reins.

As part of the restructure, ARN announced a number of other key leadership change. The chief commercial officer role, currently held by Pete Whitehead, will be phased out. Whitehead, a driving force behind ARN’s commercial success for eight years, will stay on until Michael Stephenson steps in as COO.

Chief digital and technology officer Fayad Tohme will also depart at the end of January, leaving a legacy of enhanced digital capabilities. ARN has thanked both leaders for their impactful contributions.

Pictured: Greg Byrnes

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Bunnings has claimed the top spot in YouGov’s 2025 Best Brand Rankings in Australia with a scored of 48.1.

The rankings are based on the Index score from YouGov BrandIndex, which measures overall brand health. The score is calculated by averaging six key attributes: Impression, Quality, Value, Satisfaction, Recommend, and Reputation, reflecting how well a brand is delivering on its promise.

Following the household hardware and garden centre chain are Toyota with a score of 47.1, Google in third place at 46.1, Samsung with 46.0, while Colgate scored 43.7, completing the top five.

In sixth place was Cadbury with 43.0, YouTube with 42.1, ranking seventh was Vegemite with 40.0, followed by JB Hi-Fi with 39.5, while Weet-Bix rounded out the top 10 with 39.4.

Top Improvers of the Year

Amazon is the most improved brand in Australia, with a notable increase of +5.4, making made substantial strides over the past year. Its video streaming platform, Amazon Prime, also made an impact, ranking third with a change of +4.1, following WhatsApp, which saw a +5.2 increase.

Guinness and TikTok round off the top five movers recording a change of +4.0 each.

Other brands making the top ten list of improvers include Qatar Airways (+3.9), Aldi (+3.3), Booking.com (+3.2), Instagram (+3.2) and American Express (+3.1). These brands have shown notable progress, reflecting their growing strength in the Australian market.

Global Top 10

Samsung ranked first in YouGov’s Global Best Brand Rankings 2025, leading across 28 markets with an impressive Index score of 43.0.

YouTube and WhatsApp securing second and third place, both achieving a score of 41.6. Google followed in fourth with a score of 40.0, while adidas rounded out the top five with a score of 35.4.

Nike (35.3), Colgate (33.2), Netflix (33.2), Toyota (31.5), and IKEA (31.4) also made it to the global top ten, reflecting their strong performance across multiple markets.

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For the past 21 years, Australians of all ages have enjoyed gathering around the TV and playing an active role in either helping to make or break a budding singer’s career.

It all began with Guy Sebastian on the first season of Australian Idol back in 2003. Since then, the show has helped launch the careers of a formidable list of entertainers, many now household names.

Think Shannon Noll, Jessica Mauboy, Matt Corby and Anthony Callea to name a few.

With anything spanning across decades, a few nips and tucks here and there are expected. The trick, however, according to the Seven Network’s director of content, Majella Hay, unscripted, is to ensure the bones of the building remain untouched.

“This is a brand with a huge legacy and following,” Hay told Mediaweek.

“When you’re looking at any of these formats that have a really loyal following, you want to keep reinvigorating them, but they still have to feel like what the viewer knows – so it’s always a balancing act of making sure that you freshen them up, but not to the point that they become so foreign or removed that people don’t know what they’re watching,” she said.

Last year saw the Australian iteration of the brand introduce a world first element – with the number of ‘Golden Tickets’ handed out cut from 50 to 30.

For the uninitiated, receiving a Golden Tickets allows contestants to advance in the competition – without the threat of further eliminations at the audition stage. Not everyone gets one, and some may be asked to perform again before earning it.

Hay said it’s the brains behind the changes we “really happy” with them last season and have only moved to “refine” them for 2025. “The thing we decided we needed for this year was to take things up a notch,” she said. “That includes giving our judges (Kyle Sandilands, Marcia Hines and Amy Shark) a bit more leeway, giving them a bit more playfulness.”

This season the show will also retain focus on contestants so people can “really invest in the characters”.

Hay explains: “You don’t just see someone in episode one and then not see them again until episode eight or nine. We want to really make sure that that person that you fell in love with on the first Sunday in February, you’re still seeing regularly and peppered throughout the next episodes before they move into that top 30 and then into the live space. We know that people fall in love with these characters”

Watch Australian Idol  Sunday’s at 7pm on Channel 7 and 7plus. 

As they head into the countdown for the AACTA Awards 2025, Michael Brooks and Hamish Lewis from Warner Bros. Discovery are rightfully excited about what is to come.

While Brooks is the GM of Warner Bros. Discovery ANZ and the MD of Warner Bros International Television Production Australia, he’s also the EP of the company’s scripted slate, working closely with Head of Scripted, Lewis.

The scripted department is just three years old but has already found critical success.

This year, the pair are looking at three nominations for their Foxtel/Binge series The Twelve and an incredible 15 nominations (see below for full list) for How To Make Gravy, an ambitious project to turn Paul Kelly’s iconic Australian song of the same name into Binge’s first ever original movie, starring Hugo Weaving, Daniel Henshall and Brenton Thwaites.

While both are clearly delighted by the number of nominations, they say they never doubted the the film’s potential.

“We’re really pleased,” says Brooks. “I think not surprised, in that we knew it would resonate because of the IP itself.

“Paul Kelly has got such a great following, so we knew from that perspective that we had something quite interesting and special. We also knew that director, Nick Waterman and Meg Washington, who adapted it for the screen, are fantastic as creatives.”

“What’s great is that the nominations are across across the board, both crew and cast,” adds Lewis.

“We had pressure on our shoulders with an IP of that size and the love for it, so we put a lot of time and effort into choosing the right heads of department.

“So, we really went to get the best of the best in the country, and that also went to casting and Nikki Barrett is one of the best there is.

“We were creating these characters from scratch, essentially. I mean, there’s mentions of their names in the song, but there’s not a whole lot of detail to who these people are.

“A big part of Nick and Meg’s writing was uncovering who these people were, how they fell into the framework of the family and off the back of that, work in development and scripting.

“The first step was getting Paul’s buy-in,” says Brooks. “So that was a key part of this. Then the creative team all got Paul’s understanding of the direction of it and from there they felt confident to expand and create those characters and just did a brilliant job.”

The pressure of a Christmas movie

But did the fact they were making what is ultimately a Christmas movie add to the pressure?

“Look, it did,” acknowledges Brooks. “But I think ultimately, what was interesting was you had people that really knew and loved the song and and grew up with it, and Ali (Hubert-Jones, Commissioner and Executive Director, Content at Binge) was one of those people.

“But then you had people like me, who have spent a long time outside of Australia and and it wasn’t something I knew.

“So, we had to make a film that resonated with people that knew the characters, and others who just wanted to sit down and watch a great film’

“And so in a way, I think that helps, because you’re not just sort of zoned into this one kind of thing, like ‘Oh my god, it has to be this…

“One of the key objectives for us is that we were making content that has a global resonance.”

Despite that, the film has yet to be sold in any other territories, despite hints of an upcoming announcement, so does that mean it will garner a sequel?

“We might have differing opinions on this, but I would go with it as a single film,” says Brooks. “I quite liked how it resolved. But yes, you could easily (make a sequel), when you look at the family dynamic.”

“I think it would be down to Paul (Kelly) and where he wanted to move that world,” says Lewis, diplomatically.

Working with Anh Do and Stuff The British Stole

So what is next for the three-year-old WBDITV-scripted department as we head into 2025?

The Twelve’s third season, The Twelve: Cape Rock Killer, will be out later this year on Binge but with no news on another season of the critically-acclaimed Love Me, what happens now?

“Well, when we started it was about trying to do projects that were going to be seen,” highlights Brooks. “And that could match and sit alongside other global content on streaming services.

“We wanted to be working with young, emerging talent. We wanted new faces on screen. So it these feels like we’re ticking those boxes.

“Before Gravy we hadn’t done a film, and we are obviously part of Warner Brothers, so that’s an interesting approach.

“Having said that, we’re not the studio of Warner Brothers, so we don’t get funding to make these films, we have to make them ourselves. So I think there’s a huge amount of risk in it, but with risk, you get a lot of reward if you can execute it.”

“We’ve got an animation project with Anh Do that we’re doing, which is based on his WeirDo books. So that’s different. We haven’t done a series like that before and that’s exciting.

“And, of course, we’re adapting Stuff The British Stole with Wooden Horse into a drama,” says Lewis. “We’re working with Ben Chessell (Offspring, Giri Haji) as the setup director, and Anchuli Felicia King (Deadloch, The Sympathiser) is a writer and show runner.

“We’ve got an internationally respected team on board, and a really exciting premise that we’ve developed off the back of a factual documentary.

“We’re taking that to market very soon and it will be big, be loud, be fun and repulsive! I think it’s going to get the world talking, both from a creative drama point of view, and raise a lot of questions that are quite topical at the moment.

“We wanted to really dial in on an important story under the umbrella of a really fun drama series. I think we’ve executed it. Anchuli Felicia King and Ben Chessell are both brilliant at drama and comedy, so we’re able to merge the tone slightly and create something quite fun.”

There’s also another production due to be officially announced after the AACTAs.

‘It’s a perfect partnership. I think we hold each other accountable across every element of it.’

It’s clear Brooks and Lewis are a dynamic partnership. They spend evenings texting about TV shows they love (Lewis is a huge fan of Severance, Brooks is waiting to be convinced) and Brooks has thoroughly enjoyed helping Lewis develop his career in the scripted arena.

“Sometimes these partnerships that happen within the company environment, are really few and far between,” he says. “Hamish had came from a scripted background, but was here working in unscripted but had a passion for drama, and I just said to him, ‘Look, you’ve got the drive, so let’s go and sort of figure this out.’”

“And I think its just worked. I can’t be in the every day of everything, so he has to be. So there’s a bit of trust there, but sensibilities just align.”

“It’s a perfect partnership,” adds Lewis. “I think we hold each other accountable across every element of it, but it also helps that we are, for the most part, creatively aligned.

“If Michael sends through notes, then virtually they are word-for-word my notes, and vice versa. Obviously you want some kind of combat every now and then to keep things exciting, but I think our end game is always the same.”

The launch of Max

With 2025 being a huge year for Warner Bros. Discovery ANZ and the launch of Max, do the pair think anything will change for them and their slate?

Brooks, who is also the GM of Warner Bros. Discovery ANZ is careful in his response,  “The way it’s seen is that this is another global streamer coming into the market, so that breeds opportunities.

“But I think at the same time, Max is going to commission the best ideas from the best producers and it doesn’t matter where they come from because that’s what they’re going to do. They’re competing.

“I think for us, we’re going to have to just make sure we’re really developing in the right place with the right partners and the right people and and do everything we can, but yes, they’re going to choose the best projects.”

How To Make Gravy, full list of AACTA nominations, 2025

• Best Film
• Best Direction in Film (Nick Waterman)
• Best Lead Actor in Film (Daniel Henshall)
• Best Supporting Actor in Film (Hugo Weaving)
• Best Supporting Actor in Film (Damon Herriman)
• Best Supporting Actress in Film (Kate Mulvany)
• Best Screenplay in Film (Meg Washington, Nick Waterman)
• Best Costume Design in Film (Christina Validakis)
• Best Production Design in Film (Benjamin Fountain, Peter Kodicek)
• Best Original Score in Film (Sam Dixon)
• Best Sound in Film (Craig Walmsley, Stuart Morton, Diego Ruiz, Sam Hayward)
• Best Casting in Film (Nikki Barrett)
• Best Original Song (Dream On, Meg Washington, Electric Fields & The Prison Choir)
• Best Original Song (Fine, Meg Washington, Brendan Maclean & The Prison Choir)
• Best Soundtrack (Meg Washington)

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Coopers has launched a new brand campaign that brings to life hundreds of ads that are certified 1 of 1 originals, in collaboration with Special and Glue Society.

Creators, artists, originators and Coopers drinkers from all across the country tapped in to create their own beer-inspired originals. Sheep, scrap metal, ice, pastels and plasticine were just some of the chosen mediums. Even the campaign soundtrack is an original, brought to life using Coopers stubbies as the instrument.

This resulted in an outdoor campaign where every billboard, bus shelter, airport, rail, hand painted mural, and even digital placement is a unique one-of-a-kind creation.

The campaign extends across social, cinema and film — basically wherever you see an ad for Coopers, you’ll see something completely unique and truly Forever Original.

“Originality means many things to many people, but one thing is for sure, it’s a virtue that the world needs now more than ever. Coopers doubling down on this long-held belief sets an exciting path for the brand to continue to walk the walk, originally,” said Ryan Fitzgerald, executive creative director at Special.

Coopers national marketing manager, Kate Dowd, added: “Originality has always been part of our DNA as a brand, and this campaign exemplifies what being Forever Original means – starting with a beer glass, a recognisable piece of iconography in our category and bringing it to life in unique, original ways.”

CREDITS
Client: Coopers
National Marketing Manager: Kate Dowd
National Campaign Manager: Lucy Noblet
Social and Digital Manager: Aaron Child
Category, Insights & Innovation Manager: Duncan Ashcroft

Agency: Special
CEO/Partner: Lindsey Evans
CCO/Partners: Tom Martin & Julian Schreiber
CSO/Partner: Rebecca Stambanis
Senior Strategist: Laura Wiseman
ECD: Ryan Fitzgerald
CD: Peter Cvetkovski, Adam Ferrie
Creatives: Lauren Regolini, Locki Choi
Freelance Creatives: Christian Duffy, Sean Larkin
Design Director: Daniel Jones
Design: Sarah Ristevski
Head of Film + Content: Sophie Simmons
Head of Stills Production: Nick Lilley
Senior Stills Producer: Di Williams
Retouching: Nick Mueller
Finished Art: Jen Bailey, John Rivera
Production Coordinator: Aleisha Winslow
Team Lead: Georgia Newton, Ollie May
Business Director: Marnie Dunn
Business Manager: Tamara Young, Sascha Jacobs

Art + Directing Collective: Glue Society
Production Company: Revolver
Managing Director / Co-owner: Michael Ritchie
EP/Partner: Pip Smart
Executive Producers: Michael Ritchie, Pip Smart & Jasmin Helliar
Director: Paul Bruty
Producer: Lib Kelly
Cinematographer: Will Robertson
Art Coordinator: Helen Psychogios
Photography: Will Robertson, Anna Pogossova, Ben Sullivan & Ryan Achilles Stamatiades

Post production company: Glue Society Studios
Post Producer: Lib Kelly
Editor: Luke Crethar
Colour/Online: Scott Stirling

Sound Design: Rumble Studios
Music/Sound EP: Michael Gie
Engineer: Daniel William
Music Production:  Rumble Studios
Composer:  Rino Darusman

Media Agency: KWPX
Media Director: Maddy Papilion
Digital Media Director: Oliver Whelan
Media Manager: Kate Moroney

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The Outdoor Media Association (OMA) has launched the 2024 OMA Creative Awards, a new annual programme celebrating the best of Out of Home (OOH) advertising creativity.

To celebrate the launch, the OMA offers complimentary entry to its six categories for the first year. This year’s Grand Prix-winning creative team (of two) will be awarded a trip to the prestigious 2025 Cannes Lions Festival of Creativity in June, including return flights, accommodation in Cannes and a Festival Pass.

The new categories include: Best Classic Campaign, Best Digital or Programmatic Campaign, Best Innovation or Sustainability Campaign, Best Multi-Format Campaign (3+ formats), Best Small Format Campaign and Best Special Build Campaign.

Entries are open until 7 March and must be campaigns that ran from 1 January 2024 to 31 January 2025 and will be judged by a panel of industry leaders with creative, marketing and OOH expertise.

“Creativity is pivotal to delivering impactful and engaging Out of Home campaigns. Our unmatched national presence across streets, transport hubs, retail spaces, classic and digital formats provide endless opportunities for innovation,” Elizabeth McIntyre, OMA CEO, said.

“The OMA Creative Awards shine a spotlight on our finest creative minds and the freshest work driving OOH’s ongoing success. Sending our inaugural Grand Prix winners to Cannes this year is also a fitting way to reward and support our world-class creative talent.”

Building on the success of the OMA’s previous Creative Collection programme, the new awards reflect the industry’s commitment to advancing innovative ideas in OOH and celebrating outstanding creative work across all outdoor formats.

The awards launched comes after OMA partnered with AUSVEG and Health and Wellbeing Queensland (HWQLD) to launch the 2025 iteration of its Fresh veg, deliciously affordable campaign, last week.

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Agencies are increasingly focused on streamlining workflows and driving transparency, according to Tangram.

The consultancy for the creative industry spoke to agency leaders about how they’re optimising processes for long-term success in its latest playbook, Future-Proof Your Agency: 12 Ops and Finance Trends to Track in 2025.

Among the leaders the consultancy interviewed were Caroline Williams SVP, head of EMEA agency operations at George P. Johnson, and Kara Bombell, chief operations officer of Digitas.

Helen Johnson, founder and managing drector of Tangram, co-authored the playbook with Tangram’s UK-based, senior principal Sai Chiu, who was the former global commercial finance director across London and Singapore for Ogilvy.

Chiu said he hope the playbook provides agencies the tools they need to innovate and thrive. “Having led teams at Ogilvy and Havas, I know the vital contributions finance and operations deliver. I understand the real challenges agencies face and how important it is to adapt strategically.”

Johnson said it’s an essential guide designed for agencies looking to master the latest operational and financial strategies.

“With this playbook, we aim to empower agencies to adapt and innovate,” she says. “After over a decade working with both large networks and independent agencies, we’ve identified the common pitfalls that can really hold progress back.

“But we’ve also seen some fantastic agencies and brilliant people who have truly nailed it. Two incredible examples are Kara and Caroline, who are leading the way in our industry.”

Williams said: “It’s no longer just about doing more with less; it’s about doing better with what you have. Agencies need to ensure they have the right processes to drive results. I’ve shared how we’ve successfully done this at George P. Johnson and how we’re rolling this out on a global scale.”

Bombell: “There’s been a bit of a reckoning in client services where agencies need them to be more strategic with the needs of the business. The tactics I share in Tangram’s playbook are invaluable for agencies aiming to align their operations with client expectations in a period when all agencies are tightening their belts.”

Johnson added: “Our goal with this playbook is to empower agencies to adapt and innovate.

“We’ve been working with large networks and indies for over 10 years and we’ve identified the common pitfalls that can hinder progress. We hope the playbook inspires agency leaders and highlights the unsung heroes in finance and operations – the backbone of any successful agency.”

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Meta has reported $164.50 billion in revenue, a 22% rise in its 2024 full-year financial results.

In its fourth-quarter results, that was a revenue of $48.39 billion and an increase of increases of 21%.

The social media giant proved to be a popular medium for friends and families to reconnect as it recorded a 5% increase year-over-year of daily active people across its family of apps, or 3.35 billion on average for December 2024.

Meta’s family of apps delivered a 6% increase in ad impressions and 11% year-over-year for the fourth quarter and full year 2024, respectively.

“Despite the challenging economic environment in Australia and New Zealand, we saw strong growth last year, demonstrating that Meta continues to be a platform of choice for both consumers and advertisers in the region,” said Will Easton, managing director of Meta Australia and New Zealand.

“In the coming year, we’ll see Meta’s investments in areas like AI, glasses, and our social media platforms continue to drive impact locally,“ he added.

Meta founder and CEO Mark Zuckerberg shared the same sentiment with Easton on the company’s tech and platforms.

“We continue to make good progress on AI, glasses, and the future of social media.”

“I’m excited to see these efforts scale further in 2025,“ Zuckerberg added.

Looking ahead in the first quarter, Meta expects the 2025 total revenue to be in the range of $39.5-41.8 billion to reflect 8-15% year-over-year growth or 11-18% growth on a constant currency basis.

Meta noted that while it will not provide a full-year revenue outlook for 2025, the tech giant expects investments in its core business this year to continue to deliver strong revenue growth in the year ahead.

This comes after Meta’s latest decision to cut 5% of its global workforce—around 3,600 jobs—has sent shockwaves through the tech world as part of Zuckerberg’s push to sharpen the company’s focus for what he’s calling an “intense year.”

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The Suits universe is expanding, with Suits: L.A. set to bring the franchise’s signature legal battles to the glitz and chaos of Hollywood.

At the centre is Ted Black, a sharp former New York federal prosecutor reinventing himself as a go-to lawyer for LA’s elite power players. But his firm is on the brink, forcing him to step into a role he once swore he’d never take.

As Ted juggles high-profile cases, shifting alliances, and office politics, ghosts from his past start to resurface, threatening everything he’s built. With a team as ruthless as the clients they defend, the stakes have never been higher.

Suits LA stars Stephen Amell (Arrow, Heels), Josh McDermitt (The Walking Dead), Lex Scott Davis (Unbreak My Heart) and Bryan Greenberg (The Mindy Project, One Tree Hill).

Aaron Korsh, who was behind the original Suits series will also serves as writer and executive producer.

In an effort to drum up hype for the latest incarnation of the Suits universe, Korsh took to X for an impromptu Q&A, tackling fan questions about the franchise’s upcoming spin-off.

Among the hot topics? Would Meghan Markle’s character Rachel Zane, a fan-favourite who exited when her relationship with Prince Harry became serious, return? With Suits still her last credited acting role, speculation about a possible reprisal lingers – but don’t hold your breath.

Remains to be seen. I am open. https://t.co/n1LuWTMM8p

— Aaron Korsh (@akorsh9) January 27, 2025

When pressed Korsh told a fan that while he was open to the idea it “remains to be seen”.

The show’s executive producing team will also feature David Bartis, Doug Liman, Gene Klein, Anton Cropper, Genevieve Sparling, Rick Muirragui and Jon Cowan also executive produce. Suits LA is produced by UCP, a division of Universal Studio Group.

Stream Suits: L.A. from Monday, 24 February on 7plus.

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Global research powerhouse Ipsos has snapped up Whereto Research, strengthening its grip on Australia’s public sector research and setting a new benchmark for the industry.

Melbourne-based Whereto Research is known for its sharp policy insights and government communications expertise, tackling complex social issues with practical, innovative solutions. Now, combined with Ipsos’ Public Affairs thought leadership, cutting-edge ethical AI, and robust data security, the acquisition creates an industry-first powerhouse.

The move bolsters Ipsos Australia’s growing Public Affairs division, which already leads in areas like Household Travel surveys, Patient Experience, sustainability, healthcare, polling, Indigenous issues, and private health insurance – cementing its position as a force in social research.

Ipsos Australia CEO Simon Wake said: “In an era of accelerated societal change in Australia, and globally, rigorous evidence-based research and advisory is an essential service to government and all organisations. Whereto’s team brings additional scale to our existing government and social research teams to help our clients navigate this complex environment and make better decisions.”

Whereto Research co-directors Catherine Boekel and Penny Burke added: “Joining Ipsos is a tremendous opportunity for Whereto Research. Integrating into a leading international market research group will enable us to accelerate our development and offer our clients global solutions. We share the same passion for excellence and innovation with Ipsos, and we are convinced that this collaboration will create value for our clients and employees.”

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