Foxtel’s broadcast of the NRL’s Las Vegas season opener has come and gone – setting a new benchmark for brand integration and advertising opportunities. Speaking on the impact of the event, Foxtel CEO Patrick Delany highlighted how the Las Vegas double-header has become a unique offering for advertisers, blending massive reach with deep engagement.

A grand final-level advertising opportunity

Delany likened the event to “a grand final wrapped up with a magic round,” emphasising the unparalleled advertising value of an event that delivers such high levels of pent-up demand.

“There are so many more opportunities to continue to extend the brand, to integrate all of that sort of stuff, which our advertisers are loving,” Delany said. “Last year, this was our highest-rating event ever. So it’s one thing to integrate in and have brand extensions, but when you’ve got massive reach in one day, it’s a real smash-up for advertising.”

With 50,000 fans packing Allegiant Stadium and record-breaking television ratings in Australia last year, the Las Vegas opener proved to be a crucial platform for brands looking to maximise visibility.

It’s something Delany is hoping to not only mimic this year, but build upon as well.

Sustaining momentum throughout the season

Beyond the single-day event, Delany emphasised the importance of maintaining momentum throughout the season.

“What you want to do is start something off and keep the momentum. The momentum stayed across all of our brands. We started with the Vegas round this year – it’s like a Super Saturday Vegas round – and then the next week, we’ve got Super Saturday. The momentum will continue across all the things we’re doing,” he said.

For advertisers, this presents a long-term opportunity to sustain engagement beyond the Vegas event, leveraging the ongoing excitement of the season. Brands that secure early placements with Foxtel can capitalise on the audience’s continued enthusiasm, something Delay says will ensure high viewership and engagement levels across multiple rounds.

Sport as the ultimate engagement driver

Foxtel’s exclusive sports content has always been a key driver of subscriptions and viewer loyalty according to Delany, but he pointed out that digital reach alone is not enough – and true engagement is what brands should prioritise.

“We always think about exclusivity in terms of driving subscription sales,” he said. “We all know these days, especially with digital, you can get a very big reach, but are you getting true engagement? And that’s the one thing sport delivers. It’s the thing that NRL delivers.”

Delany says that for brands, this means that aligning with a premium sports broadcaster, like Foxtel, ensures their messaging reaches an audience that is not just watching, but actively engaged – unlike passive digital ad impressions.

The long-term vision for NRL in America

The Las Vegas NRL opener is not just a short-term play – it’s part of a broader five-year strategy to introduce the sport to new markets. Delany acknowledged that while immediate advertiser interest in the US market remains uncertain, the long-term potential is significant.

“The NRL has said they’ve got a five-year plan on this, and what I’m hearing is Vegas would like to extend it beyond five years,” he noted. “It’s a very, very big tourist event, attracting people from all over the world. But, you know, it’s no small thing to put an unknown sport onto free-to-air in the US People have to go, ‘Well, I’m curious about this.’ It could take some time.”

This patience, Delany says, aligns with Foxtel’s commitment to building deep partnerships with the NRL and investing in the future of sports broadcasting.

Pictured: Patrick Delany

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Nielsen Ad Intel, one of Australia’s ad spend monitoring services, has unveiled its 2024 Advertising Spend Report, highlighting the nation’s biggest advertisers, the dominant sectors, and significant market trends that shaped the past year.

Retail, food, and telecommunications continued to lead in media investment, while financial institutions and automotive brands posted notable increases in spending.

Australia’s top 20 advertisers for 2024

1. Harvey Norman
2. McDonald’s
3. Woolworths
4. Amazon.com
5. Reckitt Benckiser
6. Hungry Jack’s
7. Chemist Warehouse
8. Toyota
9. Coles
10. KFC
11. Telstra
12. Commonwealth Bank
13. Optus
14. Disney
15. Mondelez International
16. Mitsubishi
17. Youi
18. Uber
19. Apple
20. ANZ

Industry leaders weigh in

Monique Perry, Nielsen Pacific MD, said, “The Ad Intel spend data for 2024 is pretty telling – marketers aren’t just relying on advertising, they’re pushing it, because they know it works. They know it’s still the best and most economical way of forging lasting connections between brands and consumers. The key is top-tier data. It’s crucial if they want to get the edge on their competition. Nielsen’s extensive data suite has become essential for any brand, agency, advertiser, or marketer focused on using data to stay ahead of the curve, or more importantly, their competition.”

Rose Lopreiato, Nielsen Ad Intel’s Pacific commercial lead, added, “Retail remains the powerhouse of ad spend, outpacing all other sectors, but automotive also continues to grow. In an increasingly competitive market, these insights are essential as advertisers refine their strategies and allocate budgets more effectively. Nielsen Ad Intel remains the industry benchmark for tracking advertising investment trends, and gives the clearest, most actionable insights into Australia’s dynamic ad market.”

Advertising categories with the highest investment in 2024

Despite economic pressures, Australian advertisers continued to commit substantial budgets across various sectors. The top-spending categories were:

1. Retail: $2.53 billion
2. Motor Vehicles: $676.5 million
3. Communications: $663.8 million
4. Finance: $632.7 million
5. Travel & Accommodation: $607.5 million
6. Entertainment & Leisure: $537.1 million
7. Insurance: $435.8 million
8. Food: $409.9 million
9. Services: $327.9 million
10. Education & Learning: $304.7 million

Top 5 sectors with the highest year-on-year growth

From 2023 to 2024, ad spend saw an upward trend across multiple industries. The finance sector led with a 10% increase, followed by utilities with a 5% rise. The motor vehicle sector recorded a 4% increase, while both travel & accommodation and government advertising grew by 2%.

The government sector is projected to see further growth in 2025, with election-related advertising ramping up for the federal and Western Australia elections.

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If cats have nine lives than Amanda Goff must have feline DNA carousing through her veins.

Goff’s career projectory is anything but conventional. After starting her career as a journalist, Goff made the decision to enter the world of escorting under the moniker ‘Samantha X’. She’s since abandoned that world altogether.

Now, with her new book Misfit, published by Echo on 4 March, she is stripping back the last layer of performance – saying goodbye to Samantha X and fully embracing Amanda Goff. The memoir details her journey through addiction, a bipolar diagnosis, and the decision to step away from a lucrative brand built on notoriety.

While she might not be the conventional teacher brands and agencies are be used to, she is, perhaps, the most honest, and her ability to reinvent herself, apropos of nothing external, is a masterclass in evolution.

“Well, I hate hypocrites” Goff told Mediaweek, “so that’s a good start”.

Slow burn

“I went public with Samantha 10 years ago when no one in the industry was talking about the industry. It was very controversial at the time,” Goff explains. “Now, even Instagram wasn’t a huge thing 10 years ago. If I’d come out now, I don’t think it would be that much of a big deal at all. I had to grow when I came out. I exposed myself to the whole of Australia and the world because I went on TV in LA and London. I had to learn about social media, learn about ownership, and learn about growth.”

Through this transformation, Goff has gained a unique perspective on personal branding, authenticity, and the shifting expectations of audiences in the digital age.

The social media evolution

In a world dominated by curated feeds and aesthetic perfection, Goff acknowledges the stark contrast between generations. “I have a sort of envy for how they’re able to be so free online,” she admits. “I didn’t understand how people could do this online, but it’s because it’s so alien to me. You know, I grew up in a generation where we did talk about our feelings, and now not only do we talk about our feelings, but we put them out there in the world for everyone else.”

This oversharing, however, comes with consequences. “You need to be kind of careful as well. What you put out there can be almost used against you.”

As the social media landscape continues to evolve, brands and influencers are constantly navigating the fine line between relatability and aspirational content. But according to Goff, today’s audiences are becoming increasingly wary of perfection.

Authenticity over perfection

Goff believes that authenticity is the ultimate currency in today’s world: “It’s okay for brands to get things wrong; it’s okay to make mistakes. Because guess what? That’s called being genuine – and audiences appreciate that, and that’s called being authentic.”

She points to the rise of reality TV as an example of why imperfection resonates with people. “Someone, somewhere, can always relate to reinvention, to healing, to blowing up their lives with drugs, alcohol, relationships, whatever embarrassing mistakes. People like that because it makes them feel better about themselves.”

This, she argues, is why the era of the “Instagram-perfect influencer” is losing steam. “Yes, that might be aspirational, but it’s not realistic. Women, in particular, are moving away from that idea because we know it’s not real.”

For brands and agencies, this shift presents both a challenge and an opportunity. Recent controversies, like Carrie Bickmore and Fifi Box’s ill-received Kmart collaboration, highlight the dangers of inauthenticity. When audiences perceive a lack of sincerity, backlash is swift. Goff stresses that the most damaging thing a brand or public figure can do is project a facade that doesn’t align with reality.

The pitfalls of fakeness in branding

Goff is blunt about the consequences of maintaining an unrealistic public image. “If you scratch beneath the surface of any mansion in decent suburbs of Sydney, you’ll find rot. You’ll find dysfunctional relationships, alcoholism, drug addiction, fraud. As Samantha, I got exposed to those kinds of people and those kinds of lives.”

This level of inauthenticity is why some public figures and brands get caught in PR disasters. “People can sniff out insincerity,” she warns. “The ones who make headlines for the wrong reasons are those who talk the talk but don’t walk the walk.”

The element of inauthenticity was recently thrust into the spotlight after radio stars Carrie Bickmore and Fifi Box copped online criticism from  Australian shoppers, over their Kmart ad campaign.

The radio duo teamed up with the budget retailer for a paid partnership, showing off a shopping spree inside a Kmart store. But rather than sparking excitement, the ad has left viewers unconvinced – many accusing the pair of being “rookies” who rarely, if ever, shop there.

Shared across the Carrie & Tommy Show and Fifi, Fev & Nick Show Instagram pages, the video sees the besties on the hunt for affordable home decor. But eagle-eyed fans were quick to call out a glaring detail – one that, for many, proves they’re not exactly regulars at the retail giant.

“Tell me you don’t shop at Kmart without telling me – came out with a cushion and a vase. LOL take me and I will show you how to shop at Kmart. Tip one get a trolley,” wrote one Instagram user.

While another also took aim at the absence of a trolley: “Pft, rookies. Where’s the dual shopping trolleys?”

She urges brands, influencers, and companies to embrace the full spectrum of their identity. “It’s really important for brands, people, and companies to embrace the good, the bad, and the ugly. The striving for perfection is so unrealistic and so damaging, particularly to women. That is more harmful than good.”

A call for realness

As the advertising and media industry grapples with shifting audience expectations, Goff’s insights serve as a wake-up call. Consumers are demanding transparency, and brands that fail to deliver risk irrelevance – or worse, backlash.

The solution? Own who you are. Embrace imperfection. And most importantly, never underestimate your audience’s ability to see through the illusion.

For agencies and brands looking to maintain credibility, authenticity isn’t just an option – it’s a necessity.

Pictured: Amanda Goff

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Paramount Australia, the parent company of Network 10, Paramount+, Nickelodeon, and MTV in the local market, has named Kat Droulers as Queensland sales director – ad sales. This appointment finalises the company’s national sales leadership team under general manager – ad sales, Nick Bower.

Droulers, bringing more than 20 years of experience in advertising and media sales, will lead Queensland’s ad sales team, overseeing Paramount Australia’s metro and regional broadcast assets, 10 Play, and Paramount+.

The integration of the 10 Regional sales team, led by Helen Elliott, head of regional sales Brisbane, strengthens the company’s market reach with additional regional expertise.

This move follows Network 10’s acquisition of Southern Cross Austereo’s (SCA) regional television licenses across key markets in Queensland, southern New South Wales, and Victoria, as well as WIN Network’s Northern New South Wales license.

The integration of SCA’s regional sales teams into Paramount’s metro offices has created a unified national sales network, combining metropolitan scale with regional market insights.

Rod Prosser, chief sales officer at Paramount Australia, said: “I’ve worked with Kat for over 20 years in various capacities, and I am thrilled to announce her leadership role in Queensland, which is an essential market in our national strategy. Kat’s exceptional leadership, proven track record in stakeholder engagement across all levels of business, coupled with her deep industry acumen and genuine leadership style, positions her perfectly to drive our integrated offering forward.

“This is a transformative moment for Paramount Australia’s commercial capabilities. By bringing together our metro and regional sales teams under one roof, we’re now able to offer advertisers a truly national footprint with local expertise. The combined strength of our teams delivers unprecedented value to our clients and partners.”

Nick Bower, general manager – ad sales at Paramount Australia, said: “Kat brings an authenticity to her leadership that resonates strongly with both our team and our clients. Her strategic mindset, ability to foster meaningful partnerships while delivering commercial outcomes makes her an invaluable leader as we continue to strengthen our national presence.

“The merger of our sales teams has already created exciting synergies. This integration isn’t just about combining teams – it’s about creating new opportunities for our advertising partners.”

Of her appointment, Droulers, said: “This integration marks an exciting expansion of our Queensland presence. By welcoming our regional colleagues and their deep market expertise, we’re creating a powerhouse team that combines Paramount’s innovative solutions with unparalleled local knowledge.

“This positions us to deliver even more sophisticated, targeted solutions that truly serve both our metro and regional clients. I’m looking forward to working with Helen and her team as we strengthen our unified Queensland offering.”

Kat has spent over two decades of experience in advertising, media sales and leadership roles at companies such as IdeaWorks, Mitchell Media, Media Circus, and Carat Australia.

She has been a pivotal member of the Network 10 team since 2018, initially serving as the Group Sales Manager and then Acting Queensland Sales Director at Paramount Australia.

Pictured: Kat Droulers

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“You need some guardrails, not tight regulation,” Lucio Ribeiro told Mediaweek in a conversation about AI and governance ahead of the InnovAItor this week.

InnovAItor, co-founded by the former Seven director of marketing digital and innovation, alongside Vijay Solanki, brings together corporate leaders, start-up innovators and tech enthusiasts to connect with thought leaders over the evolving AI landscape.

Ribeiro continued: “For some reason, we subscribe to this story that the tech guys can regulate themselves – Elon Musk, Mark Zuckerberg – they can’t. They have proven over and over and over, they can’t. These are the same folks in power right now.

“We need some element of guardrails, and I think Australia is doing quite well. The minister of technology Ed Husic is really at the forefront. I think he’s quite vocal about what’s happening.”

He noted that while Australia has Artificial Intelligence (AI) Ethics Principles, developing a framework needs progress because “change is happening too fast.”

Ribeiro said he was not only in favour of guidelines and regulations but of implementing rules and penalties. “You’re talking about data, information manipulation. There needs to be some guardrails, but not tight regulation that sucks the oxygen out of the innovation.”

Deepseek: ‘It is important, but it’s not the end of the world’

Deepseek, the Chinese-created AI chatbot released earlier this year, was the most downloaded freeware app in the US on the iOS App Store at the end of January. However, the program has caused “security concerns” among some countries, resulting in its ban on government devices in South Korea, Taiwan and Australia.

For Ribeiro, Deepseek and its machinations are a highly technical conversation but noted that through technology, the Chinese have demonstrated that they can do things faster and run processes efficiently.

“I don’t think this necessarily going to change the world. For technical people who understand these details, it’s a good milestone, but it’s not as big as it looks. It is important, but it’s not the end of the world or the beginning.”

Keeping up with AI breakthroughs

Looking ahead at breakthroughs in AI, Ribeiro suggested business owners look into investigating the impact of AI agents, a self-guided AI system that takes independent actions to achieve specific goals with no human, with no continuous human intervention.

He also suggested business owners help their workforce prepare to be prepared for AI conversations with customers who are AI-prepared.

“Imagine now, for example, you’re a travel agent and a customer comes to you, already done all the research on ChatGPT and probably has more research than you – let’s call it the age of the AI-informed customer.

“Businesses need to be looking to their workforce, primarily the ones in point of sales, and understanding the impact of the AI-informed customers, what that means for their business, and the second part about the impact of AI agents in their business. I truly believe it is a big challenge.”

Rare insights from OpenAI

Ribeiro’s insights come ahead of the upcoming InnovAItor event. The event will also feature a discussion with Mac Huffman, go-to-market director at OpenAI, for a fireside chat led by Riberio.

Attendees will have access to rare insights and the opportunity to dive deep into OpenAI’s playbook and learn how Australian companies can stay ahead in the rapidly evolving AI landscape.

Ribeiro added that he hopes Huffman will give the attendees, as well as himself, guidance on the best utilization of OpenAI.

“I expect him to talk more about agents and impacting some of the categories, some industries. I expect the audience to raise their questions, and like half a dozen people walk away from the event with much better answers to some of the problems they’re trying to solve today.”

“I’d like to have a global view on the biggest use cases, category use cases right now. I want to know how people are using OpenAI for more creative tasks. I have a lot of experience in using it for operational and creative tasks. For me, it’s like an update about best practices and use cases because there’s a lot of noise.”

Top image: Lucio Ribeiro

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Vinyl Group (ASX: VNL), Australia’s only ASX-listed music company, has finalised its acquisition of Concrete Playground Pty Ltd, a digital city guide operating across Sydney, Melbourne, Brisbane, Auckland, and Wellington.

The move strengthens Vinyl Group’s media and advertising capabilities, expanding its ability to connect brands and agencies with engaged lifestyle audiences through Vinyl Media.

Concrete Playground’s content and audience complement Vinyl Media’s existing go-to-market strategy, broadening its reach while serving a distinct set of clients and briefs.

Under the acquisition terms, Vinyl Group has acquired 100% of Concrete Playground for $4.06 million in cash and $1.5 million in Vinyl Group shares. A portion of the cash consideration, $500,000, has been placed in escrow for 12 months as security under the Share Sale Agreement, while the issued shares – calculated at a 15-day VWAP of $0.1186 per share – are subject to a 12-month escrow period.

Concrete Playground generated over $4.1 million in unaudited revenue over the past year and is projected to contribute at least $1.5 million in EBITDA in CY25. Its integration into Vinyl Media is expected to drive operational efficiencies and accelerate Vinyl Group’s path to positive cash flow, reinforcing its position as a growing player in Australia’s media and entertainment sector.

As part of the transition, Concrete Playground’s founder and CEO, Rich Fogarty, will depart the business. Rich has worked closely with Vinyl Group to ensure a seamless integration of the team and operations.

Josh Simons, CEO of Vinyl Group, said: “Finalising the acquisition of Concrete Playground is another huge milestone for Vinyl Group. Concrete Playground has built an engaged and trusted platform that seamlessly fits into our broader media strategy as part of our new publishing house, Vinyl Media. This acquisition strengthens our media division and unlocks new opportunities for our advertising partners, all while accelerating our timeline to sustained profitability. We’re excited to welcome the team to Vinyl Group and look forward to unleashing our potential together.”

Rich Fogarty, founder and CEO of Concrete Playground, said: “Selling Concrete Playground is bittersweet, but I couldn’t be more excited for what comes next. What started as a passion project has grown into a leading digital publisher, thanks to an incredible team and a loyal audience who share our love for discovering great experiences. With Vinyl Group now at the helm, Concrete Playground is in excellent hands. Their scale, expertise and vision will open up new opportunities, ensuring the brand continues to thrive and evolve.”

Alongside the completion of its Concrete Playground acquisition, Vinyl Media has signed an exclusive advertising representation agreement with Genius for the Australian and New Zealand markets. Genius, a leading global music knowledge platform, is known for its extensive catalog of lyrics, artist interviews, and cultural commentary, attracting millions of users worldwide.

The partnership expands Vinyl Media’s digital advertising network, providing brands with direct access to Genius’s engaged audience across both markets. The agreement strengthens Vinyl Media’s ability to connect advertisers with music and culture-focused consumers, reinforcing its presence in the digital media and advertising space.

By integrating Concrete Playground and Genius into its portfolio, Vinyl Media continues to build its offering for brands and agencies, leveraging high-engagement content to drive new commercial opportunities in the music and entertainment sectors.

Joel King, COO of Vinyl Group, said: “Our new ad representation deal with Genius reinforces Vinyl Media’s leadership in the music, culture, and entertainment space. We are focused on scaling Vinyl Media’s commercial offering, and this partnership is a testament to that ambition.”

The latest announcement comes off the back of Vinyl Group’s recent launch of Vinyl Media, a premium publishing and culture house for advertisers to engage with audiences across a diverse range of profiles. Key recent appointments have seen Batoul Peters promoted to head of commercial operations, Brad Arnold promoted to head of studio and projects, while Marcus Allen has been promoted to group partnerships manager in Victoria and QLD.

Mediaweek is owned by Vinyl Group.

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TEG has appointed Simon Cahill, head of commercial, and Jono Whyman, general manager of SXSW Sydney, as co-managing directors for SXSW Sydney. Cahill will also take on the role of TEG’s chief commercial officer while continuing his existing commercial responsibilities.

The leadership changes come as Colin Daniels steps down from his role as SXSW Sydney managing director, a position he held since the event’s launch in Australia. Daniels will remain involved with the festival as a member of the SXSW Sydney board and will continue his role as a founding partner of Handsome Tours.

The new leadership structure aims to strengthen SXSW Sydney’s commercial and operational strategy as it builds on its debut year. With Cahill’s expertise in commercial partnerships and Whyman’s experience in event management, the festival will continue to develop its position as a key cultural and business event in the region.

TEG Group CEO and SXSW chair Geoff Jones said: “First and foremost, I would like to personally thank Colin for his dedication and hard work over the years. Colin has done an outstanding job in building a passionate Team, successfully launching SXSW Sydney, and ensuring the vision for this world-leading Event is set for the future. His leadership has been instrumental, and I am grateful for his contributions.

“I am also delighted to welcome Simon Cahill and Jono Whyman as the Co-Managing Directors for SXSW Sydney. Both Simon and Jono have been working on the event since day one and have both played a pivotal role in helping build one of the largest events in the APAC region.

“I look forward to working alongside Simon and Jono to continue further expanding the festival to new heights.”

Speaking about their appointments, Cahill and Whyman said: “We are both honoured to step into the role of Co-Managing Directors for SXSW Sydney. We would like to extend our deepest gratitude to Geoff for this incredible opportunity and to Colin for laying such a strong foundation for the festival.

“We are excited to build on the success of the festival and further develop SXSW Sydney as the premier destination for innovation, creativity, and collaboration in the Asia Pacific region.”

SXSW Sydney will take place this year from 13 – 19 October 2025.

Pictured: Simon Cahill and Jono Whyman

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BBC Studios has named Robi Stanton as executive vice president & general manager of global media and streaming for Australia and New Zealand. In this newly appointed role, Stanton will oversee content sales, channels and streaming, and advertising sales across the region.

With more than 25 years of experience in media and entertainment, Stanton brings a wealth of expertise in distribution, commercial strategy, marketing, and advertising sales. She is currently the commercial director for CNN International and has previously held senior leadership roles at Warner Bros. Discovery and Turner International.

Since July 2023, Stanton has served as commercial director, content sales & strategic partnerships at CNN International, where she has been responsible for business development, distribution, and the monetisation of news across key Asia-Pacific markets. Prior to CNN, she held leadership roles at Warner Bros. Discovery and Turner International, managing business operations in Australia and Singapore. Her career has spanned content, commercial strategy, marketing, digital, and operations, with a focus on driving business transformation and growth.

A strategic appointment amid BBC Studios’ growth in ANZ

Stanton’s appointment comes at a time of significant expansion and innovation for BBC Studios in Australia and New Zealand. The past year has seen enhancements to BBC.com and the BBC app, the launch of six FAST channels on Nine, and the arrival of BBC First on Sky NZ. BBC Studios has also renewed key partnerships with Nine and TVNZ for premium natural history programming, including Asia and Blue Planet III, and extended its long-standing collaboration with the ABC for drama, entertainment, comedy, and children’s content.

“Australia and New Zealand continue to be priority markets for BBC Studios, with deep cultural connections to our world-class content and strong partnerships with local broadcasters and streamers,” the company stated. This includes major titles such as A Good Girl’s Guide to Murder (Stan, ThreeNow), Death in Paradise (BritBox, BBC First NZ), the Emmy-winning Baby Reindeer (Netflix), and the highly anticipated Walking with Dinosaurs (ABC).

Stanton to drive BBC Studios’ streaming and content strategy

In her new role, Stanton will work alongside Kylie Washington, EVP & GM of global entertainment ANZ, to develop innovative cross-business growth strategies for BBC Studios’ partners in the region. She will officially begin on 26 March, reporting directly to Nick Percy, president of global markets.

Percy welcomed Stanton’s appointment, saying: “Robi has an exemplary track record of innovating and driving growth across digital, content, and brands. She has achieved this through a visionary approach and smart strategic partnerships. We have ambitious plans for our world-leading content, channels, digital platforms, and streaming services, and I’m delighted that Robi will be leading the way for BBC Studios in ANZ.”

Stanton expressed her enthusiasm for the new role: “I have always been impressed by BBC Studios’ incredible suite of content, services, and brands, as well as its ability to constantly innovate across its partnerships. I look forward to contributing to the company’s future, helping drive growth for both BBC Studios and its partners in the local industry, and working with the talented teams at BBC Studios.”

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News.com.au has launched a new consumer campaign, If it matters to you, it matters to news.com.au, positioning the platform as a go-to source for both serious and light-hearted news.

The initiative aims to reinforce the brand’s role in delivering timely, relevant content that reflects the diverse interests, concerns, and conversations shaping Australian audiences.

The campaign highlights how news.com.au engages with Australians across different aspects of their lives, addressing topics that inform, entertain, and resonate with the nation.

The company says it emphasises the platform’s ability to connect with readers on issues that matter to them, from breaking news to entertainment and lifestyle coverage.

Free news and lifestyle editor-in-chief Mick Carroll said: “The campaign has been designed to keep news.com.au top of mind for Australians who are balancing busy lives, while trying to stay across what’s happening locally and around the world. Whether it’s hard hitting news or the best in entertainment and sport, we want Aussies to know they can turn to us to keep on top of what matters most to them.”

Meanwhile, managing director and publisher free news and lifestyle Pippa Leary said: “The news.com.au editorial team understands and meets the needs of Australians everyday with journalism that is relevant and trusted. Our investment in news.com.au with this new campaign prioritises driving direct audiences into the brand’s ecosystem to foster deeper audience engagement, critical to the site’s success and the success of our clients.”

The campaign was developed in collaboration with News Corp Australia’s in-house creative agency Roller, and begins rolling out today. The campaign is designed to connect with audiences throughout their daily routines, spanning digital, social, audio, radio, and TV.

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Hatched Sydney has appointed Tania Babela as investment director with Alex Curry taking on the role of senior account manager.

Babela joins from Kaimera where she was investment director for the past three years. Before that, she spent two years at Joy as the Sydney investment lead. In her new role, she will work across the independent agency’s full portfolio of clients.

“From my first day at Hatched, I felt a strong sense of community, with a focus on collaborating as a team toward a common goal,” Babela said of her new role.

“There are no egos here; instead, we are all committed to providing the best service to our clients and media partners. I am eager to work with our clients to explore innovative ways to make an impact on their business.”

Curry joins the independent agency from Bohemia Group where she was a media manager. She has previously worked at UM and Wavemaker. She will oversee Hatched’s clients including the Australian Cancer Research Foundation, Jack Link’s, GPT Office, GPT Retail and Kitchen Warehouse.

Curry said of her appointment: “This role allows me to champion my client service skills and flex my planning muscles. The clients, the work and the team have all surpassed my expectations. It’s refreshing to join a business that values hard work and mutual support in achieving company and personal goals. I’m excited to see what we can accomplish together.”

Danni Dimitri, Hatched managing partner and head of strategy, added: “So much great stuff is happening at Hatched. Having these two ambitious women join us in 2025 will enhance our client service and product while taking Hatched to the next level. Their experience, drive and attitude align seamlessly with Hatched’s values. They’re already making an impact, helping us to push boundaries and continue to deliver innovative solutions for our clients.”

Top image: Alex Curry and Tania Babela

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Enigma has appointed Simon Lee to the newly created role of chief creative officer and partner.

He will oversee the independent full-service agency’s 80-strong team across Sydney, Newcastle, and Brisbane, as it enters a new phase in its 30-year history

As Enigma’s first CCO, and the first leader to join as a partner, Lee brings more than 20 years of experience to the role in leading independent agencies to creative excellence in campaigns for some the biggest brands.

He joins from his most recent role as creative architect, leader and joint owner of The Hallway, helping to take the agency to the forefront of the Australian indie scene –  winning seven agency of the year titles and a raft of creative awards including Australia/NZ’s only Design Lion at Cannes in 2024.

“Simon’s appointment is indicative of the scale of our creative ambition and our commitment to achieving it,” Lisa Sutton Gardner, Enigma founder and director, said.

“His breadth and depth of experience, unique creative voice and proven commercial and leadership acumen mean that our clients, and our people are in very good hands. I’m very excited about the extent of what I’m confident we’ll achieve together.”

Lee said of his new role: “With our industry and our clients’ businesses changing at ever-increasing pace, it’s essential to keep evolving the definition of what great creativity means.

“This is a key factor that has attracted me to Enigma – the opportunity to shape a creative offering that’s grounded in timeless truth, but connects with the relevance of right here, right now. And as an integrated creative and media agency with a 30-year track record of delivering strong commercial outcomes for its clients, Enigma has the scale and pedigree to deliver on this. The agency feels like a tinderbox that’s primed to catch fire, and I’m excited at the prospect of helping to spark the flames.”

Lee’s appointment follows that of Joanna Lilley as managing director, Sydney in February and the recent promotions of Justin Ladmore to chief media officer and Amy Dascanio to managing director, Enigma Media.

Top image: Simon Lee

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Mediaweek’s Media Movers charts the biggest people moves in the industry over the past week.

Triple M and broadcaster Marty Sheargold have mutually agreed to part ways. The announcement from the Southern Cross Austero (SCA) owned network comes after Sheargold faced a storm of criticism for controversial on-air remarks he made about the Matildas and women’s sport.

Sheargold made the remarks during a news bulletin on The Marty Sheargold Show on Monday afternoon off the back of a story about the Matildas’ recent defeats in the SheBelieves Cup.

From hosting a breakfast show on 2Day FM to taking the reins of her eponymous program on Sky News Australia and now hosting her own YouTube channel – Molan is always adapting to the shifting media landscape

The veteran broadcaster is now boldly stepping into uncharted territory with her new venture, 69 X Minutes. The project, inspired by a tweet from Elon Musk, represents a fresh, fearless approach to storytelling and content creation that’s already captured the attention of audiences around the world.

The show was announced by both Molan and Mario Nawfal via sizzle reels on their social media accounts. Nawful is no stranger to utilising the platform for program creation. His, The Roundtable Show, is currently the largest show on X, and has played host to a range of guests including Hunter Biden and Musk. Nawfal is also the CEO of International Blockchain Consulting (IBC).

It’s the end of an era for at the ABC, with election aficionado Antony Green choosing to step away from the camera and focus his talents behind-the-scenes.

Green, who has spent more than three decades informing and entertaining Australians on election nights, has decided his on-air tenure as the ABC’s chief elections analyst will come to an end at this year’s federal poll.

Since his debut in 1991, Green has offered expert commentary on over 90 Australian elections – including 13 federal polls, numerous by-elections, local contests and even overseas events in the UK, New Zealand and Canada.

Victoria Racing Club (VRC) CEO Kylie Rogers has appointed Nikki Clarkson as Chief Marketing Officer. Clarkson brings over 25 years’ experience in brand management, digital strategy, content creation and media commercialisation, most recently serving as CMO at Southern Cross Austereo.

In her new role, Clarkson will lead VRC’s marketing, communications, content, digital, production and social media functions, driving brand growth and innovation across all Flemington assets year-round – most notably the Melbourne Cup Carnival.

Leo Australia has appointed as executive creative director in Melbourne, alongside the promotions of group creative directors Tommy Cehak and Tim Woolford to executive creative directors in Sydney.

Badger joins the Publicis Groupe agency from Ogilvy in Melbourne, bringing more than 20 years of experience to the role. She has worked with globally recognised brands across financial services, FMCG, automotive, retail, government and tourism sectors.

Since joining in 2023, Cehak and Woolford have crafted award-winning work for Diageo, Amazon, and DNSW, with projects like Bundaberg Rum’s “Wedding that Fans Built” and Johnnie Walker’s “In Her Boots” gaining international recognition at Cannes, Spikes, One Show, AWARD and D&AD.

After more than 30 years on Australian television, Home and Away’s Lynne McGranger will conclude her role as Irene later this year. McGranger’s enduring portrayal has established Irene as a familiar presence in Summer Bay, making her departure a notable moment for the series.

Stephen Howard will leave Ovolo Hotels in April as the company’s group director of marketing and communications. He took to LinkedIn on Tuesday to share the news of his departure, calling his decision “a mix of emotions.”

During his seven years with the group, he was part of launching new properties, entering the international market, and rebranding to “Wonder. Full”.

Long-time Nine presenter Danika Mason will step into the role of sports presenter on The Today Show following the departure of Alex Cullen over a $50k gift controversy. Mason is already a familiar face for Nine viewers, thanks to her work 9News, The Sunday Footy Show, NRL on Nine, and Wide World of Sports.

The announcement was made during the show’s broadcast today, with Mason in Las Vegas with host Karl Stefanovic for the NRL.

Jason Pollock has been named News Editor for nextmedia‘s B2B technology channel. He previously spent nearly three years as a Senior Journalist at AdNews.

Enigma has promoted Justin Ladmore and Amy Dascanio. Ladmore will step up into the newly created role of chief media officer and partner from managing director, to lead growth, strategy, and the independent full-service agency’s connected creativity product, strengthening its integrated approach.

Dascanio moves into the role of general manager, charged with leading the 40-strong media team while working alongside managing directors Jack Mason and Joanna Lilley’s teams across Newcastle and Sydney offices.

Nick Wilson has joined Daily Mail Australia as a News Reporter. Prior to this, he worked as a Journalist covering accounting titles at Momentum Media. He welcomes pitches across general news and has a particular interest in stories related to politics, law, and the arts.

The Hallway has revealed new additions to the leadership team with the return of Dan Saunders as executive creative director and appointment of Phoebe Keogh as head of media and connections, and chief creative officer Simon Lee’s departure.

Saunders joins the agency having tenured as creative director at some of Australia’s biggest agencies including TBWA, DDB, and Dentsu, working on global brands, such as McDonald’s and Amazon, and international experience in the US and London.

He previously spent two years at The Hallway creating famous and awarded work for brands like Boody, Smooth FM and Anytime Fitness. Whilst also picking up a Cannes Lion for The Cardboard Cake in 2024.

Keogh recently joined The Hallway after eight years with UM Australia where she was strategic lead for Menulog, ING and Chery Motors. She will overssee the continued growth of The Hallway’s connections department.

Luca Ittimani has been appointed Business and Economics Reporter at Guardian Australia, following the successful completion of a year-long cadetship with the publication.

PR consultancy Zonnios&Hunt has launched into market, offering a nimble and efficient solution to clients’ communications challenges with senior expertise driving the entire journey – from strategy through to execution.

Lauren Hunt and Nick Zonnios lead the company, having senior positions at Virgin Australia, Clemenger BBDO and CHEP Network, across a range of sectors, including finance, automotive, retail, travel, FMCG and more.

Southern Cross Media Group Limited (SCA) has announced Toby Potter as its new chief financial officer and a member of the senior leadership team. The appointment was disclosed to the market ahead of SCA’s half-year results presentation on Thursday morning. Potter, who stepped in as acting CFO in December 2024, has been responsible for overseeing the company’s financial stewardship over recent months.

Lauren Day is set to begin her new role as ABC’s North America Correspondent in the coming months. She will relocate to Washington DC after spending nearly two years as South-East Asia Correspondent, based in Bangkok.

Sophie Smith has returned to Southern Cross Austereo, taking on the role of Casual Newsreader for The Fox and Triple M. Previously, she spent nine months with the network as a Radio Journalist, presenting sports bulletins during live NRL and AFL coverage, along with drive-time and weekend national news updates — all while freelancing and covering the Olympics for Nine.

TBWA Sydney has appointed Elektra O’Malley as managing director and Michael Hogg as chief strategy officer for the Group, which includes TBWA, Eleven, Fleishman Hillard, Fabric, +61 for Telstra and TBWA/Media Arts Lab.

She returns to Australia after over a decade in New York working at creative agencies including TBWA, Johannes Leonardo and Anomaly, partnering with iconic brands such as Diageo, Kraft Heinz, Amazon, Gap, Revlon, H&M, Adidas, and PepsiCo.

O’Malley’s most recent role was as head of account leadership at Anomaly NYC where she led business initiatives for Bud Light, Amazon Ads, and Ferrero Group. Under her leadership, ABI won Creative Marketer of the Year at Cannes for two consecutive years and launched two Super Bowl ads for Bud Light.

UnLtd, the social impact organisation for the media, marketing, and advertising industry, has announced the departure of CEO Stephen Hunt, who will be stepping down at the end of February to pursue new opportunities.

Hunt joined UnLtd in May 2024 and has played a key role in shaping the organisation’s strategic direction during his tenure.

Samantha Jurman has joined ABC’s Sports team as a Producer / Reporter. She will continue her work as a News Producer and Sports Reporter at 10 News First Sydney, while also freelancing with Football NSW.

MultiConnexions has appointed Alastair Love as marketing director. Based in Melbourne, Love will drive the agency’s next phase of growth by forging strategic partnerships and expanding its presence in the Victorian market, with a targeted focus on government and corporate sectors.

The company says the move reinforces MultiConnexions’s commitment to delivering tailored marketing solutions in an increasingly competitive trade landscape.

GroupM Australia & New Zealand have welcomed the appointments of Veronica Li, Ben Grace, and Claudia Domingues to its commerce team to drive transformation for clients across Wavemaker, EssenceMediacom, and Mindshare.

Li, Grace and Domingues joined after the holding group developed a robust Commerce offering encompassing Strategy, Activation, Creative, and Data & Technology. The offering leverages proprietary tools, partnerships, and processes to deliver GroupM agencies impactful commerce solutions with global scale, local nuance, and proven effectiveness.

DDB Group Melbourne has promoted deputy executive creative director Giles Watson to executive creative director. In his new role, he will lead the agency’s creative direction, continuing to bring his distinctive brand thinking and innovation to the agency’s client stable and working closely with chief creative officer Psembi Kinstan.

Watson joined DDB Group Melbourne in 2021 as a creative director and quickly built out the creative leadership team, boosting the agency’s creative thinking and craft.

Australian fintech company Airwallex has appointed Jennifer Snell as director of marketing, ANZ. Snell brings more than 15 years of marketing experience to the role and will lead marketing initiatives throughout Australia and New Zealand.

Global brand and communications agency Jack Taylor has appointed Judy Turchin as chief executive officer. Turchin will lead the agency’s global operations, drive ongoing strategic growth in existing and new geographic markets, and develop new capabilities, diversifying and enhancing the agency’s scope of expertise and services.

She will work alongside Jon Bier, founder of Jack Taylor, to cultivate partnerships with mission-aligned brands and influential voices. Turchin joins the agency with more than 25 years of leadership experience spanning consumer health, wellness retail, real estate, and financial services.

Sebastian Revell has joined Emotive to lead the independent agency’s strategic offering. Revell will be part of the senior leadership team to help drive Emotive’s vision of creating ideas that change the way people feel. He is also charged with evolving the agency’s data, research and effectiveness capabilities to meet this ambition.

He joins from TBWA, where he was head of strategy. He was most recently leading the agency’s strategic direction on Tourism New Zealand, mycar Tyre & Auto, AWS and Apple. As well as overseeing the output of the strategy department’s cross-disciplinary team, including brand, creative, earned, social and connections strategy.

Are Media has announced a new editorial lead for Woman’s Day, appointing Katherine Chatfield, to drive the brand’s content strategy, audience growth, and digital expansion.

Taking the helm of Australia’s highest-selling weekly lifestyle brand, the new editor will oversee its evolution into a fully omnichannel powerhouse, strengthening its position as a trusted source for lifestyle content, celebrity news, and real-life stories.

Terri Owens, former senior GroupM executive, joins Fabulate in the new role of client service and operations director, overseeing client service and operations for the Australian influencer marketing platform.

Owens joins the company after almost a decade at GroupM, where she held senior roles, including head of business operations and general manager of product, data and technology and in 2024 was named on Campaign’s 2023 APAC Women to Watch List.

Marion Rae has taken on the role of Senior Reporter at The Energy, where she will cover the intersection of business and politics within the energy sector. Over the past 25 years, Marion has held various media and analyst roles, most recently serving as Future Economies Correspondent at Australian Associated Press.

Caitlyn Todoroski has joined Time Out Sydney as a Branded Content Writer. She comes to the role after completing the WIN News / Walkley Broadcast Scholarship at WIN News Illawarra in 2024.

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Are Media’s ELLE Australia is marking its one-year print anniversary with a multi-platform content rollout, reinforcing its positioning as a luxury omnichannel brand for Gen Z and millennial women.

Under the leadership of new editor Jessica Bailey, the March edition is accompanied by digital expansions, including exclusive video content and a refreshed luxury online presence on ELLE.com.au.

The latest issue features Australian actor Alycia Debnam-Carey on the cover, with five behind-the-scenes videos from the shoot set to launch alongside the print release.

ELLE Australia is also set to introduce a range of new initiatives throughout the year, including the ELLE Next Gen Awards, styling masterclasses, and the return of its top-rated podcast What The ELLE. A new fertility-focused podcast, backed by Elevit, is also slated for launch this week.

With its 220-page anniversary edition featuring a strong lineup of luxury advertisers and high-fashion content, ELLE Australia continues to grow its presence in the premium fashion and lifestyle space, leveraging both print and digital to engage its audience.

Of the expansion, Bailey said: “ELLE has a truly unique ability to connect with young women. Part of that is spotlighting the next generation of Australian talent before they hit the zeitgeist, hence the choice of Alycia as our cover star.

“The return of ELLE in print last year was the most exciting relaunch in media. While this year is about keeping that momentum, we will also be upping the pace across all platforms.

“Video content is central to ELLE Australia’s strategy to engage its younger audience. The brand has produced five cover ‘films’, including a behind-the-scenes ‘Making of the cover shoot’ showcasing South Australia’s Lake Gairdner salt flats. The videos will be featured across ELLE’s digital platforms and refreshed YouTube channel,” she said.

ELLE now reaches over 1.5 million consumers across digital, social, and print, with its web audience – measured by Ipsos Iris – accounting for 308,000 of those touchpoints. As the brand looks ahead, it is set to further expand its presence with a focus on digital innovation, off-platform content, and audience engagement.

Are Media’s general manager of luxury, Nicky Briger, said the March issue and its digital extensions represent the next phase of ELLE Australia’s evolution. She highlighted plans to build on this momentum in 2025, particularly through digital initiatives, podcasts, and live events. ELLE Australia is part of Are Media’s luxury portfolio, which also includes marie claire, Gourmet Traveller, BEAUTY/crew, Beauty Heaven, and Girlfriend.

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Australian punk rock band Amyl and the Sniffers are the latest cover stars of Rolling Stone AU/NZ, featured on the March – May 2025 edition, available from 3 March. The issue highlights the band’s rapid rise from local venues to international stages, reflecting their growing influence in the global music scene.

The band’s momentum continues with high-profile achievements, including a BRIT Awards nomination and supporting Foo Fighters on their US tour. Their feature in Rolling Stone AU/NZ underscores their crossover appeal and cultural impact as they reach new audiences.

Frontwoman Amy Taylor, who hails from Mullumbimby in New South Wales, told print editor James Jennings: “Growing up, if I went to shows in my local area, I would never really see women on stage. But then I’d watch the guys and be like, ‘I can definitely do it better than them.”

Amy continued: “I want to make people proud. I want them to be like, ‘F**k yeah, those guys did it. The music industry is dying and somehow those four f**kwits have done something good’. What we’re doing is risky – you put yourself out there and be physically, emotionally, and spiritually vulnerable every time you do anything, because you’re in the public eye. If people do wanna bitch about us, that’s fine – as long as they’re bitching about us becoming successful.”

Following a whirlwind few years, the band were photographed in Melbourne for the exclusive Rolling Stone AU/NZ cover shoot by Michelle Pitiris.

Guitarist Declan Mehrtens said: “I hate being at home. We’ve got this app called Master Tour, and it tells you what your day’s going to be almost every hour of the day. And I miss it so much when I’m at home. I just wake up and I feel like I’m a Sim that doesn’t have its person at the computer. I’m like, ‘What do I want for breakfast?’ When you’re on tour you have very limited things you can choose from each day.”

Also featured in the issue is the magazine’s annual Females in Focus photo essay, marking Women’s History Month with a showcase of leading female artists. Photographed by Pitiris, the feature highlights Barkaa, Meg Washington, Kaiit, Angie McMahon, Phoebe Go, and more, celebrating their contributions to music and storytelling.

The feature explores the artists’ perspectives on the evolving role of women in the music industry, as well as the impact they hope to leave for future generations. Through candid discussions, they share insights on creativity, resilience, and the shifts they want to see in the industry.

Barkaa said: “The legacy that I want to leave behind for female artists is a Blak one, an unapologetic one, a radical one. I want my legacy to be left behind where people are still pumping my music even when I’m dead and gone.”

The issue also highlights rising and established acts, including Teen Jesus and the Jean Teasers,

who reflect on their journey from discovering School of Rock at a sleepover to opening for Pearl Jam in stadiums. Spacey Jane discuss their third album, If That Makes Sense – their first major release post-pandemic – while Lady Gaga offers insight into her latest track, Disease.

Beyond music, the magazine covers a range of cultural and social topics, including an in-depth look at Australia’s food waste crisis, examining its scale and consequences. The Rolling Stone editorial team also weighs in on the best albums of the 21st century, adding to the issue’s mix of industry insights, artist interviews, and thought-provoking commentary.

Rolling Stone is owned by Vinyl Group who also own this publication.

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Journalist and media commentator Poppy Reid has teamed up with entrepreneur and investor Steve Grace to launch Curious Media, a new podcast company focused on exploring challenging and thought-provoking stories.

The venture aims to bring together a range of unique voices to engage audiences through candid discussions and in-depth storytelling.

Curious Media’s lineup includes a mix of new and existing podcasts, such as Prison Chronicles (with Sid Punts), No Business Being a Castano, and Weirder Together with Ben Lee and Ione Skye. Reid will also launch her own shows, including On the Record, which dives into the music industry, and Untypical with Love on the Spectrum’s Michael Theo, focused on film and television. Additionally, Merrick Watts will document a Kokoda Track journey alongside Grace, while My Kitchen Rules alum Fuzz Ali explores food as a storytelling medium in Food Stories with Fuzz Ali.

With multiple other podcasts already in development, Curious Media says it’s positioning itself as a destination for compelling narratives that push boundaries.

Reid will bring her extensive experience in journalism, audio, and television to the venture. As co-founder and former editor-in-chief of The Brag Media (now Vinyl Media – the owner of this publication), she played a key role in shaping the publisher’s editorial and commercial direction, overseeing titles such as Rolling Stone AU/NZ, Variety Australia, Tone Deaf, The Music Network, and The Brag.

Beyond publishing, Reid expanded Vinyl Media’s audio and video presence, creating and hosting podcasts including Behind the Rolling Stone Cover, Fear at the Top, and Variety Australia. Her work in multimedia storytelling has positioned her as a leading voice in Australia’s media landscape.

She is also a regular commentator on Channel Seven, where she serves as the network’s music and culture commentator.

Grace meanwhile joins Curious Media with a background in business leadership and media innovation. As CEO and founder of The Nudge Group, he has built a company specialising in recruitment, capital raising, and owned media for start-ups and scale-ups worldwide.

His experience in guiding emerging businesses aligns with Curious Media’s goal of developing distinctive content in the podcast space.

Grace also founded Nudge Productions, a company focused on podcast creation and management across video and audio formats. In addition to audio production, the company offers services in newsletter management, photography, and filmmaking, highlighting Grace’s expertise in content development.

Beyond media, Grace is the co-founder of The Pillars, a high-end private members club located in Sydney’s CBD.

Reid said of the new venture: “It’s been equally fascinating and eye-opening to build this company, and select and commission podcasts which are doing something different. Our conversations will go deeper, push harder and sit in that uncomfortable silence to see what emerges on the other side.

“I can’t wait for people to discover the unique stories we’re going to share via Curious Media. Our creators have important things to say. It won’t always be easy listening, but it will always be creative, compelling and curious.”

While Grace acknowledged that while ” there are a lot of podcasts and podcast companies out there … there’s not enough curiosity and discomfort,” something he’s hoping to change with Curious Media.

“We will go beyond the easy questions, the obvious stories and the stuff that everyone agrees on. Curious Media is about creating meaningful value for both creators and brands. We’re enabling content creators to monetise their passion in ways that support long-term growth, helping them evolve from podcasters to influential broadcasters.

“For brands, we offer more than just ad placements – we create tailored partnerships that connect authentically with audiences through trusted voices. It’s about fostering real impact, both creatively and commercially, while building a network that grows with our creators and partners.”

Pictured: Poppy Reid and Steve Grace

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