The decision by the Australian Radio Network (ARN) to sign broadcasters Kyle & Jackie O on a 10-year deal reportedly worth $200 million has, arguably, become one of the most contested media deals in history.

The deal, which officially kicks in this year and will last until the end of 2034, forced the company to engage in a range of cost-saving measures to free up revenue.

In December last year, Calum Jaspan wrote in The Sydney Morning Herald the deal played a role in the decision to make up to 50 staff, from a range of departments, redundant. Other factors included the company’s failed takeover of rival Southern Cross Austero and a weak ad market.

The decision to network the show – which has always performed strongly in Sydney – into Melbourne has now come under even greater scrutiny, after the duo failed to solidify a strong Victorian audience, commanding just a 5% share at the end of 2024.

In a revealing interview with ABC Radio National’s MediaLand ARN media chairman Hamish McLennan admitted that given “the media landscape is more competitive than ever” the business wants to stay “committed to being live and local.”

When pressed on whether networking the Sydney-based show into Melbourne aligned with his ‘live and local’ commitment, McLennan was quick to detail the amount of Melbourne staff helping to bring the show to life.

“We have local news, we employ people right across all of our networks in those markets,” he said.

McLennan also went on to expound the financial benefit networking can bring to a company’s bottom line. “Don’t forget, there are a whole lot of administrative staff and salespeople that service each of those markets. So we’re proudly Australian, and we want to continue in that regard,” he explained before adding: “we’ve made a huge financial commitment to Kyle and Jackie O … and we need to get payback for that”.

McLennan also tackled the issue of the pairs failure to launch with surprising honesty.

“I think in some regard, the guys pushed the envelope too hard,” he said. “I lived in Melbourne, you know? I think it is a distinct market, and so we haven’t got the content platform right.”

But he was quick to defend the pair saying that “at the end of the day Kyle and Jackie O are performers”.

“Some of that stuff I wince at too, and we’ve had those conversations with Kyle, and we’re fully aware of our obligations with the ACMA (Australian Communications and Media Authority) and we take that very, very seriously. We have censors who sit and listen to the program. I apologise if that goes over the mark from time to time. But if you do compare it to what’s out there on the social platforms and the internet, the stuff being spewed out is terrible.”

He also had this message for listeners who were unhappy with the show’s content: “turn the dial off”.

“A lot of people love that content, too, and we live in a free speech world,” he said.

Pictured: Hamish McLennan

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Larissa Ozard has announced her departure from Seven, stepping down as marketing director after three-and-a-half years in the role.

Ozard resigned from the company late last year but has only now revealed her movements.

Instead of a traditional press release, Ozard announced her decision via a post on her personal LinkedIn page, which began with the words: “Going out with a bang”.

The post continued: “What a way to end nearly three and a half years as Marketing Director at Seven Network.
Australian Idol launched last night to over 2 million Australians, Seven’s biggest Idol ever and the biggest new season launch for any show in 18 months.

“Big shout out to my incredible team who consistently go above and beyond. I’ll wrap up at Seven mid-Feb and couldn’t think of a better time to drop the mic and handover to the amazing Marni Crutchley”.

When Ozard officially resigned last year, Seven’s chief content officer, Brook Hall sent out this email to staff:

“It is with mixed emotions that I share with you the news that after three wonderful years with Seven, Larissa Ozard has decided to step down from her role as Director of Marketing to pursue a new challenge.

“Larissa has been an exceptional leader, and it’s been a pleasure to work alongside her. Her passion, creativity, and dedication have not only driven remarkable results for the company but have also brought a positive energy and enthusiasm to the entire team and office. She has built a strong, talented team and has made a lasting impact on the Seven marketing group.

“On behalf of everyone at Seven, I want to thank Larissa for her commitment, passion and hard work over the past three years. We will certainly miss her, and we wish her nothing but success in her future endeavours.”

Crutchley joined Seven in October 2023 as head of brand and product marketing, following her tenure as senior strategy director at UM Australia.

Before joining Seven in 2021, Ozard held key roles in brand and partnership marketing at Telstra and led customer marketing at Audi Australia.

Pictured: Larissa Ozard

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9News host Peter Overton has given a revealing insight into the health scare that saw him absent from screens for several weeks.

In an interview uploaded to the 9News Sydney Instagram page, Overton spoke candidly about the incident which he claims “scared the living daylight out of me”.

“I took six weeks annual leave, and then my voice suddenly said, I’m on annual leave as well. I got very husky and raspy over the holidays and went to the GP. He sent me to an ENT surgeon, and suddenly the holiday turned into an operation in a Sydney hospital,” Overton said.

He continued: “I had a polyp, quite a large polyp on one of my vocal cords. They stick a camera up your nose and then down into your vocal cord, and then on a big screen, you see your vocal cords. And I saw this. It was like a big blister, a lump just hanging off the cord.

“I must admit, it scared the living daylights out of me. So I was operated on three days later under general and they lasered it off. Then I was in hospital for a day, and then home, and then no talking for over a week.”

The father-of-two joked that he was forced to communicate with his family by “banging on the table” and “writing emails”.

“They hated it,” he laughed adding, “I don’t blame them”.

The popular newsman then went on to detail the recovery process, which has seen him work with a speech pathologist who has got him “back to the point I’m at”.

“It’s been three weeks since the operation and I’m doing the news again. It is ready to go, but it’s managing it and building up endurance, and that’s what the speech pathologist has hammered into me,” he said.

Pictured: Peter Overton

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Former ABC chair Ita Buttrose was actively involved in pushing for journalist Antoinette Lattouf’s removal from the broadcaster, newly revealed court documents have shown. The explosive details emerged in the Federal Court as Lattouf, who is suing the ABC for unlawful dismissal, faced intense cross-examination over social media posts related to the war in Gaza.

According to reports from The Australian and The Sydney Morning Herald, emails read in court on Monday revealed that Buttrose had expressed frustration over complaints regarding Lattouf, who was briefly employed as a fill-in presenter on ABC Radio Sydney in December 2023.

“Has Antoinette been replaced? I’m over getting emails about her,” Buttrose wrote to ABC managing director David Anderson.

Anderson responded, stating that Lattouf would “finish up on Friday” and that her exit would be “managed given the situation.” In a further exchange, Buttrose was unequivocal: “We owe her nothing. We’re copping criticism because she wasn’t honest when she was appointed.”

Lattouf’s dismissal, which came just three days into her five-day contract, followed a barrage of complaints from what her lawyers described as a “spectacularly successful campaign” by pro-Israel lobby groups. The ABC received complaints about her views on the Israel-Gaza conflict, particularly social media posts she shared before and during her time at the broadcaster.

One such post included a Human Rights Watch report stating that “starvation [was being used] as a tool of war.” During cross-examination, ABC barrister Ian Neil SC pressed Lattouf on whether she considered her posts controversial. Lattouf defended her position, asserting that “facts are never controversial” and that she did not assess posts based on how people “may feel.”

However, internal ABC communications presented in court indicated significant concern within the organisation. Anderson had texted ABC’s then-chief content officer Chris Oliver-Taylor, saying, “I think we have an Antoinette issue,” and later referenced her social media presence as being “full of antisemitic hatred.”

The case has also revealed internal disagreements at the ABC. Simon Melkman, the broadcaster’s top editorial adviser, argued that Lattouf had not breached ABC editorial policies or social media guidelines, and that complaints against her were “seriously misguided.”

Buttrose, who stepped down as ABC chair in March 2024, had been a key figure in the controversy. In response to Anderson’s plan for a “managed exit,” she wrote: “Managed exit, really? We should be in damage control not managed exits, David.”

The high-profile case is ongoing, with Anderson, Buttrose, and Oliver-Taylor all expected to give evidence. Lattouf, who first took her case to the Fair Work Commission, claims her dismissal was based on political opinion and/or race, and violated the ABC’s enterprise agreement.

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Hollywood star Kaitlyn Dever joined Aussie favourites Alycia Debnam-Carey and Aisha Dee in Sydney for the global premiere of Apple Cider Vinegar, held at Entertainment Quarter, Moore Park ahead of its Netflix debut this Thursday.

The red carpet event saw cast, producers, and Netflix execs gather for an exclusive first look at the highly anticipated drama. Among those in attendance were Ashley Zukerman, Phoenix Raei, Susie Porter, Matt Nable, and Thom Green, alongside series director Jeffrey Walker and creator Samantha Strauss.

Filmed in Melbourne, the Australian drama tells the “true-ish” story of a wellness empire’s meteoric rise – and the scandal that brought it crashing down.

Set at the birth of Instagram, Apple Cider Vinegar follows two young women who set out to cure their life-threatening illnesses through health and wellness, influencing their global online communities along the way. All of which would be incredibly inspiring if it were all true.

This is a true-ish story based on a lie, about the rise and fall of a wellness empire; the culture that built it up and the people who tore it down.

Who are the creatives behind the show?

• Director: Jeffrey Walker (The Clearing, The Artful Dodger, Modern Family)
• Creator: Samantha Strauss
• Writer: Samantha Strauss (The End, Nine Perfect Strangers, Dance Academy), with Anya Beyersdorf (The Twelve, Fake) and Angela Betzien (Total Control)
• Inspired by: ‘The Woman Who Fooled the World’ by Beau Donelly and Nick Toscano
• Executive Producers: See-Saw Films’ Liz Watts, Helen Gregory, Emile Sherman and Iain Canning; Picking Scabs’ Samantha Strauss and Louise Gough; and Kaitlyn Dever
• Producer: Yvonne Collins
• Co-Producers: See-Saw Films’ Libby Sharpe
• Co-Executive Producers: Jeffrey Walker; See-Saw Films’ Simon Gillis
• Previously Announced Cast: Kaitlyn Dever (Dopesick, Unbelievable), Alycia Debnam-Carey (The Lost Flowers of Alice Hart, Fear the Walking Dead) Aisha Dee (The Bold Type, Safe Home), Tilda Cobham-Hervey (The Lost Flowers of Alice Hart, I Am Woman), Ashley Zukerman (Succession), Mark Coles Smith (Mystery Road: Origin)
• Newly Announced Cast: Susie Porter (Irreverent, Wentworth), Matt Nable (Transfusion, Last King of the Cross), Phoenix Raei (The Night Agent), Chai Hansen (Night Sky, The New Legends of Monkey), Rick Davies (Offspring), Kieran Darcy-Smith (Mr Inbetween), Catherine McClements (Total Control) and Essie Davis (One Day, The Babadook)

The limited series was shot on-location in Melbourne, Australia with support from VicScreen through their Victorian Production Fund and will premiere globally on Netflix in 2025. Post Production took place in NSW with support through Screen NSW and their PDV Fund.

Pictured: Aisha Dee, Kaitlyn Dever and Alycia Debnam-Carey

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KitKat is building on decades of the iconic tagline ‘Have a Break, Have a KitKat’, with the launch of its latest advertising campaign across Australia and New Zealand on TV, Broadcast Video on Demand, Online video and Out-of-Home.

The new work, set to ‘I Want to Break Free’ by Queen, recognises that we live in a world that demands our constant attention and how difficult it is to switch off and have a proper break.

The ad, which will be adapted for different countries across the globe, carries the same sentiment: KitKat wants you to have better breaks, and aims to inspire people to take a better-quality break, without interruption.

In the advert, a man in a bustling office contends with a swarm of paperwork, sticky notes and office tech that cling to him like magnets. Against the backdrop of Queen’s iconic anthem ‘I Want to Break Free’ he walks out of the office in pursuit of a break.

The day-to-day paraphernalia only drops to the floor once he opens a 4 finger KitKat bar and snaps the crispy chocolate wafer. The advert ends with the iconic tagline ‘Have a Break, Have a KitKat’.

As we all navigate busy lives, breaks are more important than ever. However, new research conducted by the KitKat team via Human8 across different countries has shown that while people feel they take enough breaks, just 34% of shoppers say they often take quality breaks.

“We’re all better when we break better. That’s why team KitKat want to champion better, uninterrupted breaks,” said Mel Chen, Nestlé Confectionery head of marketing oceania.

“We are excited to launch this KitKat Better Breaks campaign to support Aussies and Kiwis in their pursuit of good breaks, to come back refreshed.

“Next time consumers hear the tune ‘I Want to Break Free’ by Queen, or see the new KitKat TVC, we hope you get inspired to take a proper break, free from distractions,” she added.

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Society and culture, true crime, and news continue to dominate the Australian podcasting landscape, showcasing the medium’s broad appeal.

That’s according to Commercial Radio Australia’s (CRA) 2024 Australian Podcast Report. True crime fans, in particular, are power listeners – 57% are more likely to clock in five-plus hours of content weekly.

The report also revealed the medium is on a meteoric rise across the country, with listenership up 37% in just two years and nearly 6 million tuning in weekly. The boom is fuelled by a growing pool of publishers and platforms, meeting the surging demand for on-the-go, on-demand audio.

CRA’s chief executive officer, Lizzie Young, said: “Podcasting’s growth and scale are undeniable, with 63% of podcasts now achieving over 100,000 average monthly downloads in 2024. This surge is fuelled by the diversity of content available and the ease of on- demand access.”

Podcasting’s reach also remains strong, with 48% of younger Australians (18-34) listening in the last month. Additionally, 37% of Australians aged 35-54 and 21% aged 55+ also tuned in over the past month. This broad demographic appeal signals the growing popularity of the medium across all age groups.

When it comes to a breakdown for genders, the report showed that men prefer sports, leisure and technology podcasts, while women opted for shows focused on kids and family, true crime and society and culture.

Young added: “As podcasting continues to evolve, it offers exceptional opportunities for advertisers to connect with audiences in meaningful and measurable ways.”

The report also highlighted how mobile devices dominated podcasting consumption, with with 94.2% of listeners streaming via smartphones and tablets – cementing its place in everyday life and on-the-go entertainment.

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The Growth Distillery, in partnership with Ogilvy and Kantar, has dropped the latest chapter of its Influence Codes research – this time turning the spotlight on finance.

Findings reveal that affinity – offering relatable, altruistic advice – is the strongest driver of decision-making across brands, categories, and audiences.

For finance brands looking to grow, the message is clear: trust, relatability, and simplicity are key to connecting with Australians.

Some of the most significant findings include:

• 80% of Australians lack confidence in understanding financial terms.

• Over 70% feel pessimistic about their financial future.

• Over 50% distrust traditional financial institutions.

• More than 40% of Australians turn to friends and family for financial advice.

To bridge the gap between consumers and financial institutions, the research recommends the
following strategies:

• Empathise: Show deep understanding of Australians’ financial struggles, paired with
credible, expert advice to foster lasting relationships.

• Humanise: Brands must humanise financial institutions to build connection and trust with
consumers.

• Simplify: Offer clear, jargon-free financial advice with personalised solutions.

• Educate: Provide practical, relatable financial education that highlights immediate
consumer benefits.

The Growth Distillery’s head of growth intelligence, editorial and product, Liza Williams, said: “We are in a financial literacy crisis. For marketers to overcome this, financial brands must balance empathy and expertise by simplifying information, addressing immediate challenges, and personalising solutions. By building trust, fostering loyalty, and empowering their consumers, brands can bridge the financial literacy gap and position themselves as indispensable partners in their customers’ financial journeys.”

The Growth Distillery is an independent research think-tank, powered by News Corp Australia. To download The Influence Codes: Finance, click here. To find out more go to The Growth Distillery website or LinkedIn.

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Kate Ritchie has announced she will be taking a break from her Nova 96.9 breakfast show to deal with ‘mental health issues’.

It comes after an online publication printed invasive paparazzi photos of the radio announcer showing her looking distressed.

Ritchie, who was absent from her breakfast show this morning, posted a heartfelt statement on her Instagram page in which she wrote: “I struggle with mental health issues at times, which are deeply personal. This has proven to be a bigger challenge than I imagined.”

The statement continued: “So I have decided to take a break from the show and the team who I love to focus on my health. I want to thank all of those who are helping me through this very difficult time. I love you. Thank you Nova for being there when I need you.”

The former actress went on to acknowledge the photos writing: “The images of me taken last week show that I wasn’t OK on that day. My struggle is not helped by the relentless stalking of the paparazzi, in fact they are making it much worse.

“Due to their constant harassment, they significantly add pressure and make my recovery that much more difficult.”

She went on to ask those “profiting from invading (her) privacy” this: “Would you treat your sister, mother or daughter the same, if they had similar challenges?”

Ritchie’s absence on the radio show went unmentioned today, with Chrissie Swan stepping in to fill the gap. It’s unknown how long Ritchie will step away from her role.

In a written statement Nova said: “Kate has our full support as she prioritises her health during this time. Chrissie Swan will continue to join Fitzy and Wippa on Nova’s Sydney breakfast show while Kate takes a break.”

The news will undoubtedly trigger concern among Nova executives, who may have been counting on Ritchie’s addition to the Fitzy & Wippa team to strengthen their position in Sydney’s ongoing radio ratings battle.

Sydney Water has teamed up with three time Olympic Gold Medallist Jess Fox to remind Sydneysiders how important quality water is to their lives, and the role the utility company plays in delivering it to them.

Independent creative agency It’s Friday created an educational and entertaining campaign starting on a beautiful Sydney waterway, Fox takes viewers on a tour of the city with a twist: she’s in a canoe that can be rowed to any location in Sydney, whether it’s a tabletop or a garden bed.

Over the course of the commercial, she unexpectedly rows into the lives of several water users. Each of them ends up joining Jess in her canoe as she rows across Sydney, including one of the dedicated experts at the utility company, who filter, clean, and test Sydney’s water at every stage of its journey from dam to tap.

The Olympian’s journey makes a simple point that few think about: water is an essential part of Sydney life and the utility company works tirelessly to look after that water.

Fox said of the campaign: “If you live in Sydney, your life is tied to water. But it’s not just about our lakes, rivers and beaches. We need clean and reliable water for our morning coffees, parks and gardens, backyard pools – it’s part of everything that makes Sydney great.

“That’s why this campaign is so important. It lets everyone know what Sydney Water does, and why we should never take our water for granted.”

Elise Barker, Sydney Water’s head of brand, media and marketing, said: “As Sydney grows so does its demand for water. So it’s more important than ever for people to understand the role we play in delivering drinking water that’s clean and safe to our 5.4 million customers. Because without our water, Sydney just wouldn’t be Sydney.”

Vince Lagana, CCO of It’s Friday added: “Sydney’s water isn’t just any water, it’s the life force of everything we love about our great city. To help Sydneysiders realise its importance, the campaign leads them on a fun journey educating and reminding them how vital water is to the city and that it doesn’t just come straight out of a dam.

“Who better to help people appreciate this than Jess Fox, a much-loved Olympic champ, whose life is tied to water – just as Sydney and Sydney Water’s life is.”

The ‘Water is our life’ campaign will appear across TV, OOH, social, and radio.

Credits

Client: Sydney Water – Elise Barker, Head of Brand, Media and Marketing; Tim Barrett, Digital Marketing Manager; Chriss Mikhael, Senior Marketing Advisor; Shelley Lewis, Senior Marketing Advisor; Nick Plunkett, Digital Marketing Lead.
Creative Agency: It’s Friday – Claudia McInerney, Sarah King, Grant McAloon, Neil Walshe, Benn Sutton, Mariah Ferrer, Belinda Kruse, Renee Luri.
Production Company: Rabbit
Director: Craig Rasmus
Executive Producers: Lucas Jenner & Alex Hay
Producer: Marge McInnis
Casting: Felicity Byrne
Post Production: The Editors
Sound: Squeak E. Clean Studios
Photographer: Joel Pratley
Retoucher: Mark Sterne

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Nunn Media has nabbed Neilson Financial Services and will manage its media strategy, planning and buying to drive brand growth.

Neilson Financial Services is a global business with offices in the USA, Canada, Ireland, Australia, and the UK that provides innovative insurance solutions. The business is expanding its presence in Australia with a new suite of products, including Golden Insurance, Dignity Insurance, and Direct Cover.

The independent agency will oversee media investment for these brands, supporting a series of launches that began in January.

“We are excited to partner with Nunn Media as we look to grow in the Australian market. Nunn’s deep understanding of our products and their approach to media will play a key role in reaching new customers and reinforcing our commitment to providing accessible, transparent insurance options,” David Rees, chief marketing officer at Neilson Financial Services, said.

“We believe Nunn’s approach will ensure our products, from Golden Insurance to Direct Cover, get the attention they deserve.”

Chris Walton, managing director of Nunn Media, added: “We are really looking forward to working with Neilson Financial Services. Their ambition for ANZ is inspiring, and our team is excited to bring a tailored approach to media to the table, with a focus on both acquisition and brand growth.”

Neilson Financial Services is the latest new business win for Nunn Media and follows its appointment by SunRice to manage media planning and buying, as well as Baker’s Delight, and Melbourne Airport.

In November last year the agency also acquired digital marketing agency Indago Digital which will integrate its digital media, enterprise SEO, data, web development and analytics services into Nunn’s international digital agency, Alley Group.

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Sorbent has appointed independent creative and PR agency Sunday Gravy to expand its reach with Australian consumers.

The toilet paper brand, launched in 1952, is renowned for its softness and reliability. Sorbent’s legacy is woven into the daily routines of countless families, serving as a nostalgic reminder that sometimes, the simplest conveniences hold the greatest significance.

Anna Camuglia, Sunday Gravy general manager, said: “Sorbent chose Sunday Gravy because they saw in us the same values that have kept their brand beloved for generations—an unwavering dedication to creating genuine moments of comfort, with a dash of unexpected creativity.”

“We see in Sunday Gravy the perfect partner to elevate our brand in a way that’s both creatively fresh and true to our longstanding commitment to delivering an emotionally led story around our key strengths,” Victoria Panayiotou, marketing manager, Sorbent said.

Sunday Gravy’s appointment to Sorbent is effective immediately.

Last month, Sunday Gravy launched a new brand platform, Service Still Matters, with technology businesses Square, designed to remind of the invaluable role human connection plays in customer interactions.

The campaign chooses to show how Square’s tech takes a back seat to what’s most important to restaurant owners: service. The series of ads, directed by Good Oil’s Novemba, shows glimpses of everyday hospitality moments that often go unnoticed but leave lasting impressions.

“We all love to feel special. That’s why great service keeps customers coming back,” said Sam Whatley, senior creative at Sunday Gravy.

“With this new platform, we’re shining a light on the underappreciated acts of service workers – in a way that hopefully feels relatable and real to anyone who’s had to sing happy birthday to a stranger,” he added.

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Thinkerbell has been appointed as the lead agency for the Leukaemia Foundation’s World’s Greatest Shave 2025.

The Leukaemia Foundation will now work to an integrated model with the agency providing media services alongside additional creative support for the charity’s flagship fundraising event.

Prior to the pitch, The Leukaemia Foundation developed the platform  “That’s Bloody Beautiful”. As part of its first assignment, Thinkerbell has worked with The Leukaemia Foundation to bring the 2025 World’s Greatest Shave campaign to life.

The 2025 fundraising campaign was reviewed holistically, with a renewed focus on the solidarity of participating in The World’s Greatest Shave. This has been underpinned by a media strategy that connects with Australians and will help to drive participation in the cause.

“We’ve recently learned blood cancer is on track to become Australia’s most common and most deadly cancer. It’s critical we raise more funds to urgently spearhead new initiatives that will head off this approaching storm,” Susie Howard, The Leukaemia Foundation general manager of communications and marketing Services, said.

“The Leukaemia Foundation appointed Thinkerbell because their full-funnel approach to media planning, buying and optimisation offered the opportunity to help even more people connect with our mission through our World’s Greatest Shave fundraising event.

“Their previous work in the not-for-profit sector and ability to join up their media thinking with creative services has been beneficial in delivering an efficient and effective campaign that we hope delivers against our goal of raising $12m for blood cancer research and support.”

Hannah Nickels, Thinkerbell’s national head media thinker, added: “We are so pleased to be working with The Leukaemia Foundation on this wonderful brand. We have applied some Measured Magic to The World’s Greatest Shave, and we look forward to achieving strong results in participation and donations.”

The World’s Greatest Shave kicked off in January across Social Media and Online Video, and ramps up across TV, OOH, and select regional Radio stations through February as we head toward Shave Month in March.

Credits

Agency: Thinkerbell (media and creative)
Client: The Leukaemia Foundation

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As we enter 2025, we’re seeing a shift in the ‘brain rot era’ and being chronically online.

Consumers are craving more meaningful offline experiences and interactions, which means we’re in for a whole new era of marketing and brand campaigns. Our team of brand experts at Tracksuit have chartered a path forward and outlined this year with the trends that will be cast to the wayside and how brands can navigate the changing landscape.

Doom-scrolling is doomed as consumers shift to long-form content

The continued popularity of short-form content on social media platforms made ‘doom scrolling’ an inescapable habit in 2024. Apps with vertical scroll features have become more addictive, and people’s neuropathways have adapted (I don’t know about you, but my attention span wanes 10 seconds into a video). Brands recognised this trend and tailored their marketing strategies to reach audiences with snackable, short-form content and endless trend hijacking. Even Netflix, the streaming giant that produces long-form content in the form of TV shows and movies, has used the rise of memes to market shows like Squid Games to Gen Z and Millennials.

However, as social media platforms like Facebook, Instagram and X roll back regulation online, we’re seeing more meaningless content clogging our feeds. This is further fueled by the rise of AI which is driving brands and individuals to pump out lower quality content at an alarming rate and quite frankly, it’s exhausting!

As fatigue from this noisy online world sets in, Aussies are increasingly looking for high-quality insights and educational storytelling that are told by humans. This post ‘brain rot era’, is giving way to a quality over quantity and brands will need to think about how they can capitalise to build rapport with consumers over the long term.

So what’s the secret? Long-form content. Platforms like podcasts will continue to grow in popularity this year and can provide additional insight for customers into the brand story. The ‘unfiltered’ component can come across as more genuine, appealing to those looking to grow a deeper connection. In a similar sense, live-stream Q&As can provide ‘off the cuff’ interviews with fans, where they can ask burning questions. As for written content, brand newsletters and magazines will provide a gateway into any business, product or industry news updates, drawing customers in through owned content. The longer structure can give deeper detail to customers, making them feel more invested in the brand’s story.

Connection, connection, connection. But make it real life…

The digital tiredness will also push consumers into IRL experiences. This year is all about nostalgic items that help them be present in the moment rather than on their phones. Digital cameras, dad cams, vinyl records, and analogue hobbies (arts and crafts or board games) are back in a big way. We saw this trend first emerge last year with the rise of running clubs, book clubs and face-to-face experiences in the brand world.

The pursuit of these meaningful, real-life connections will be a big opportunity for brands looking to build and engage their community in 2025. REFY beauty’s community-based brand trip is a perfect embodiment of this trend, taking customers on a paid trip to a villa in Mallorca to build rapport, trust and loyalty with customers who are brand advocates for them, instead of influencers who are likely not as passionately invested.

In 2025, the brands that succeed will be the ones that prioritise authenticity, foster community, and create experiences that leave a lasting impact. The era of fast, forgettable content is fading, making room for deeper engagement through long-form content, and real-world activations.

–

Top image: Elly Strang

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Tanya Denning-Orman, a proud Birri and Guugu Yimidhirr woman, has been promoted to lead an elevated network-wide strategic approach to Indigenous content across all SBS channels and platforms as director, First Nations, for SBS.

In the role, she will lead strategies to further embed Indigenous cultural perspectives throughout the organisation. Denning-Orman will also lead enhancing organisational capability, supporting community engagement and partnerships, and driving the ongoing development of Indigenous staff and the employee experience.

“Indigenous content, cultures, and leadership holds an integral place in our network today, and in its future. We’re proud at SBS to have a strong record of championing Aboriginal and Torres Strait Islander stories and perspectives, and Tanya’s appointment as director, First Nations reflects our commitment to continuing to grow that legacy,” James Taylor, SBS managing director, said

“As well as leading the evolution and expansion of the Indigenous content strategy across SBS, Tanya will play a critical leading role in continuing to evolve and transform SBS as the national, contemporary public broadcaster for all Australians. She will further embed Indigenous cultural perspectives in our strategy, impacting how we meaningfully engage with communities and how we operate and innovate as a network.

“This reflects our ambition as a network to continue to deepen our approach, and builds on the achievements Tanya has been instrumental in driving across the network, her extensive experience and expertise, as well as SBS’s role and responsibility as an Elevate RAP partner, and the growth and success of NITV.”

Denning-Orman added: “This marks another chapter for SBS in bringing Australians together to benefit from increasing understanding and connection with Aboriginal and Torres Strait Islander stories, cultures and history. It demonstrates the vital role First Nations perspectives have as part of a network that has a history of being a pioneer in ensuring Aboriginal and Torres Strait Islander peoples have an authentic voice and a platform in the national media, and an ambition and commitment to reach higher, and continue to do more.

“We are seeing more Australians connect with our content – we’re sharing more First Nations stories than ever before across SBS’s news and current affairs, and in more than 60 languages across SBS Audio. But the opportunity ahead for SBS is not only in building on our unique content and coverage, but in how we operate as an organisation, the way we support our people and work with each other, how we engage and partner with communities, how we collaborate across our industry, and as an innovator in an ever-changing media landscape.”

Denning-Orman moves into this new role after almost five years on the SBS executive team as SBS’s director of indigenous content, and 12 years of running National Indigenous Television (NITV) as part of the SBS network.

Under her leadership, SBS has significantly increased its Indigenous content output and grown audience consumption of Indigenous content across its platforms, while NITV has experienced increasing TV audiences, growth in commercial revenue, and has continued to increase investment in the Indigenous production sector delivering award-wining and critically-acclaimed programming. With her new appointment, Denning-Orman will now step back from the management and operations of NITV, while continuing to work closely with the team in the delivery of the network-wide Indigenous Content Strategy.

“This shift will also continue to support NITV’s trajectory,” Denning-Orman continued. “Since joining the channel in 2007, I’ve been a part of its evolution into the loud and proud voice for mob it is today, and seen the growing influence it has as part of SBS and the wider media sector.

“This has been possible because of the trailblazing work of those who paved the way decades ago for the right for Aboriginal and Torres Strait Islander peoples to have our unique stories, languages, cultures and aspirations accurately reflected and celebrated in the national media landscape, and because of the dedicated NITV team today who are continuing the work, guided by a strengthened leadership team taking the channel to new heights. I look forward to working with the NITV team, along with colleagues across SBS, in more exciting work ahead.”

NITV will recruit a new position of general manager with editorial and operational responsibility for NITV, a role that recognises the strength of the NITV senior leadership team across the channel’s strategy and day-to-day operations.

Jason Oakley, head of business, relationships and community ompact at NITV, will be acting general manager, with a process to be undertaken for the role ongoing.

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Top image: Tanya Denning-Orman

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The Australian Influencer Marketing Council (AiMCO) will host its first-ever beauty influencer marketing events, exclusively for member agencies, creators and brands.

The in-person breakfast events, to be held on Wednesday, February 5 at Publicis’ Melbourne office, and on Thursday, February 13 at Poem’s Sydney office, will explore the latest trends in beauty influencer marketing.

Both sessions will deep dive into campaign strategies for the beauty industry, along with emerging trends, key factors influencing consumer purchasing decisions and how to build authentic consumer connections and drive impactful results.

The events will feature a panel of national beauty marketing experts and will be moderated by Vamp APAC sales director, Gemma Shuttleworth.

In Melbourne, the panel will feature leading “pharmafluencer” Hannah English and Ego Pharmaceuticals marketing communications and content manager, Courtney Barlow.

The Sydney event will include creator Mitch Greer, Unilever digital and data lead, Maria Paula Gudino, and Wella Company digital marketing and communications senior manager, Celeste Godoy.

AiMCO managing director, Patrick Whitnall, said: “The beauty influencer industry is one of the biggest sectors for creators globally, with brands committing millions to powerful influencer-led campaigns.

“In Australia, beauty influencer marketing is big business – it has the power to resonate deeply with consumers looking for tips, tricks and products.

“Our upcoming beauty influencer events are designed to leverage the buzz around beauty marketing, giving our members an exclusive insight into emerging trends, campaign strategies and success stories, so they can stay at the forefront of the ever- evolving beauty industry,” he added.

The live beauty events are the first major education sessions for AiMCO in 2025. They follow well-attended live sessions in 2024 including travel and Black Friday events , along with a series of virtual information sessions, hosted by AiMCO for its members.

The live beauty events will be held in Melbourne on Wednesday, February 5 from 8.30am at the Publicis Offices (Level 7/28 Freshwater Place, Southbank) and in Sydney on Thursday, February 13 from 8.30am at the Poem Office (28 Windmill Street, Milsons Point).

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Australia’s advertising market closed a challenging calendar year in 2024 with flat growth, as total agency bookings declined by just 0.9% for the year, according to the latest data from Guideline SMI. Despite this overall stagnation, digital and outdoor media achieved record market shares, while cinema recorded impressive growth.

Guideline SMI APAC managing director Jane Ractliffe said that agency bookings continue to highlight key media trends, with video sites and streaming services emerging as the biggest growth drivers. Ad demand for video/streaming services surged by 17.8% compared to CY2023, while digital radio experienced a similar boom, growing by 17.4%.

“The increasing spend on video/streaming sites has shifted the landscape significantly. For the first time, video-based campaigns have overtaken display ads as the largest ad format, with video growing 12.4% while display ad spend fell by 3.4%,” Ractliffe explained.

Retailers played a significant role in the video ad surge, particularly Chemists, which led the charge alongside Food/Produce/Dairy and Toiletries/Cosmetics brands. Within the Toiletries sector, Skin Care ad spend drove the majority of gains.

December highlights: Government ad spend soars 67.5%

The month of December saw an overall decline of 7.2%, although Ractliffe anticipates late Digital bookings will mitigate this figure. Notably, Government advertising expenditure skyrocketed by 67.5% year-over-year (YOY), reinforcing expectations that Government ad demand will remain strong in the first quarter of 2025, ahead of the anticipated Federal election in May.

Across CY2024, Government ad bookings increased by 18.2%, making it the fifth-largest product category. Retail retained its position as the dominant category, growing slightly by 0.9%, driven by a 16.6% jump in Chemist ad spend, which helped counterbalance a 16% drop in Online Retailer ad investments. Auto brand advertising rose by 4.4%, whereas Insurers cut media spend by 3.3%.

Media Performance: Digital, outdoor, and cinema shine

Digital advertising grew by 4.4% for the year, with social media (+9.4%) trailing only video sites in terms of growth. However, linear TV ad spend fell sharply by 9.5%, although regional TV performed better with a more modest decline of 3.2%. Radio advertising also dipped by 3.4%, with Regional Radio proving more resilient, decreasing by just 0.3% YOY.

Outdoor advertising expanded by 4.9%, reaching a record 15.4% market share. Large brand campaigns were key growth drivers, particularly in the ‘Posters’ segment. Bank Brand/Sponsorship bookings jumped by 18.4%, while Insurance Brand/Sponsorship campaigns saw a remarkable 41.4% increase.

Cinema emerged as the best-performing medium in the December quarter, growing by 6.1%. digital and outdoor, however, reported slight declines of 0.5% and 1.7%, respectively. Over the first half of the financial year, overall ad demand dipped by 1.9%, but digital (+2.8%), outdoor (+2.3%), and cinema (+10.3%) continued to outperform the broader market.

Outlook for 2025: Election spend and digital investment to drive market

With Government advertising already trending upward in preparation for the Federal election, CY2025 is expected to see continued investment in digital, outdoor, and cinema.

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Dentsu has partnered with Adobe to introduce Adobe GenStudio dentsu+, an AI-powered, integrated marketing ecosystem for brands.

Adobe GenStudio dentsu+ is the culmination of a decade-long relationship between Dentsu and Adobe. It combines Adobe’s new, leading Content Supply Chain solution suite, GenStudio, with the power of dentsu’s proprietary integrated services, technology and audience intelligence.

The offering, underpinned by dentsu’s Merkury, an industry leading data and identity platform, gives marketers the power to efficiently reach and engage audiences in a highly scaled and personalized manner, driving more in-the-moment experiences and bringing consumers even closer to the brand.

Adobe’s GenStudio solution brings together applications across Adobe Experience Cloud and Adobe Creative Cloud—including Adobe Experience Manager, Adobe Express, Adobe GenStudio for Performance Marketing and Adobe Workfront, as well as on-brand generative AI capabilities with Firefly Services and Custom Models—all into one combined ecosystem for helping brands plan, create, manage, activate and measure content at scale.

It enables marketing teams to create the experiences required to drive impactful, personalized marketing campaigns. And by integrating with dentsu’s own audience intelligence, creative insights and translation capabilities, Adobe GenStudio dentsu+ enhances Adobe’s suite of services to deliver impactful experiences for clients.

Adobe GenStudio dentsu+ delivers on the combined power of creative, production, media, and digital experience, leveraging dentsu’s unique Merkury data sources.

The solution sets a new benchmark for how marketers can fully utilize Adobe, while effectively targeting millions of customers and prospects in a way that speaks to them individually—not only delivering on customer expectations but also bringing them closer to the brand through each interaction. In addition, marketers can now gain a single view across campaign management, content supply chain, and identity mapping, underpinned by dentsu proprietary AI solutions, creating opportunity to lower waste, increase efficiency, and drive engagement.

“Adobe GenStudio dentsu+ is a direct response to CMOs demanding holistic marketing platforms to drive new growth and provides integrated marketing technology and services that can supercharge business transformation,” said Abbey Klaassen, global brand president, Dentsu Creative & CEO, Dentsu Creative US.

“It’s testament to dentsu’s deep relationship with Adobe that we’ll be able to bring this industry-first solution to market to enable brands to stand out from the sea of sameness and build a competitive advantage. As one of the first users ourselves, we’re already seeing synergies created with our other products and services, and expect clients will have the same experience, finding opportunities both for their in-house teams and their work with their agencies.”

Brent Rudewick, vice president, Adobe GenStudio and Workfront, Adobe, said: “Marketers are operating in an environment now where the need for personalized and performant content is outstripping available resources, a challenge that Adobe GenStudio addresses by optimizing a brand’s content supply chain.

“Adobe and Dentsu have a longstanding partnership that focuses on delivering tailored solutions for brands. Now, combining GenStudio with dentsu’s audience intelligence and consultancy, we have the opportunity to activate generative AI for different teams, reshape longstanding workflows around content production and deliver on-brand performance at scale.”

For brands looking to fully utilise Adobe’s tech stack to gain competitive advantage and deliver on customer expectations, while delivering omnipresent brand experiences with zero creative waste, Adobe GenStudio dentsu+ truly leverages the power of dentsu’s entire breadth of capabilities. Transformative creativity from Dentsu Creative enables emotional brand resonance across the entire content lifecycle. Experience enablement and optimization from Merkle maximizes martech investments.

Next-generation media effectiveness from Carat, iProspect and dentsu X leverages a 100% addressable, 100% shoppable, and 100% accountable media mix. Meanwhile, dentsu’s global production powerhouse, Tag, allows for adaptive, intelligent, connected content production, translation, and versioning at scale.

“Bringing together these innovative capabilities for the first time creates total business impact for our clients. What we have built alongside Adobe is an adaptive, end-to-end content supply chain solution, in which we can create always-on, always-ready experiences with the least amount of waste,” Shirli Zelcer, chief data and technology officer, dentsu, said.

“Brands no longer have to try and piece together disparate systems and data—they can do it all in one place. Adobe GenStudio dentsu+ will not only drive better outcomes, but it will save time and add scale to marketing teams already under considerable pressure.”

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CX Lavender has appointed Clint Bauer as its new chief executive officer, succeeding Adam Washington, who departs to pursue new opportunities.

Bauer has been instrumental in shaping the full-service customer experience agency’s data-led, technology-driven solutions, heading up the agency’s advisory, data and technology division and its software arm, CXTX. His track record of leveraging cutting-edge strategy, technology, data, and AI to drive client value has earned him multiple industry accolades and widespread respect among peers and clients.

“Clint is a rare talent,” said Will Lavender, executive chairman of CX Lavender. “His depth of expertise in emerging technologies, his strategic foresight, and his commitment to people-centred leadership make him perfectly placed to steer our agency through its next stage of growth.”

Bauer has overseen CX Lavender’s global expansion, championing the creation of customer-centric solutions and software. Under his leadership, the agency has consistently pushed the boundaries of innovation while delivering tangible results for clients. In embodying CX Lavender’s core values – Smart, Brave, and Kind – he ensures that the agency remains a trusted partner for businesses seeking transformative growth.

“I’m excited to step into the role of CEO at such a pivotal moment,” Bauer of his appointment. “CX Lavender has always excelled at delivering innovative solutions underpinned by a relentless focus on customers. I look forward to working alongside and leading our outstanding team as we continue to fuse creativity, data, and technology to unlock even greater value for our clients and their customers.”

As part of this leadership transition, Lavender will assume the position of Chairman, working closely with Bauer and the wider leadership team to broaden CX Lavender’s capabilities, attract top-tier talent, and ensure the agency remains at the forefront of the industry.

With Bauer leading, CX Lavender aims to implement a forward-thinking strategy, customer-focused creative solutions, and a commitment to delivering strong outcomes supported by advanced data and technologies.

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Top image: Clint Bauer

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VOZ Total TV Ratings Overnight Top 30 – Programs ranked on reach

Total People TV Ratings

Sunday delivered strong viewership numbers, setting the stage for the return of official ratings this coming weekend.

Nine’s Married at First Sight won the 7:30 pm time slot, amassing a national Total TV national reach of 2,909,000 and a BVOD audience of 396,000.

Seven’s premiere of Australian Idol for 2025 launched with a total TV national reach of 2,256,000 and a BVOD audience of 83,000.

Seven’s Seven News recorded a total TV national reach of 2,197,000 and a BVOD audience of 68,000.

9News Sunday recorded a total TV national reach of 2,178,000 and a BVOD audience of 107,000.

Nine’s 60 Minutes recorded a total TV national reach of 1,881,000 and a BVOD audience of 134,000.

People 25-54

Nine’s Married at First Sight
• Total TV nation reach: 1,165,000
• National Audience: 745,000
• BVOD Audience: 252,000

Nine’s 60 Minutes
• Total TV nation reach: 741,000
• National Audience: 366,000
• BVOD Audience: 80,000

Nine’s 9News Sunday
• Total TV nation reach: 732,000
• National Audience: 364,000
• BVOD Audience: 57,000

Seven’s Australian Idol premiere
• Total TV nation reach: 700,000
• National Audience: 293,000
• BVOD Audience: 43,000

People 16-39

Nine’s Married at First Sight
• Total TV nation reach: 577,000
• National Audience: 374,000
• BVOD Audience: 167,000

Nine’s 60 Minutes
• Total TV nation reach: 339,000
• National Audience: 154,000
• BVOD Audience: 45,000

Nine’s 9News Sunday
• Total TV nation reach: 320,000
• National Audience: 142,000
• BVOD Audience: 29,000

Seven’s Australian Idol premiere
• Total TV nation reach: 278,000
• National Audience: 107,000
• BVOD Audience: 21,000

Grocery Shoppers 18+ TV Ratings

Nine’s Married at First Sight
• Total TV nation reach: 2,268,000
• National Audience: 1,278,000
• BVOD Audience: 317,000

Seven’s Australian Idol premiere
• Total TV nation reach: 1,740,000
• National Audience: 804,000
• BVOD Audience: 67,000

Seven Seven News
• Total TV nation reach: 1,730,000
• National Audience: 1,092,000
• BVOD Audience: 54,000

Nine’s 9News Sunday
• Total TV nation reach: 1,707,000
• National Audience: 992,000
• BVOD Audience: 87,000

Data © OzTAM and Regional TAM 2024. Not to be reproduced, published or communicated (electronically or in hard copy) in whole or in part, without prior written consent of OzTAM and Regional TAM.