McDonald’s Australia CEO and managing director Antoni Martinez has announced his resignation after nearly 20 years with the fast-food giant, including three years at the helm.

Stepping into the role is Joe Chiczewski, McDonald’s Australia’s chief restaurant officer, who will transition into the leadership position over the coming weeks.

Chiczewski, who joined McDonald’s in 2012, has held key positions in strategy, finance, and operations. Before arriving in Australia in September 2024, he served as field vice president for the Northeast US, overseeing 1,500 restaurants. As McDonald’s Australia’s chief restaurant officer, he was responsible for over 1,000 restaurants across Australia and New Zealand.

Bringing a customer-centric approach, Chiczewski has focused on restaurant execution, people, and culture throughout his career.

On his appointment, Chiczewski said, “I am incredibly honoured and excited to have the opportunity to lead McDonald’s Australia. McDonald’s, or rather Macca’s, has been part of Australian communities for more than 50 years. I am looking forward to continuing to build on the incredible legacy of our people and franchisees.”

An accounting and marketing graduate, Chiczewski also holds a Master of Business degree.

Antoni Martinez’s legacy at McDonald’s Australia

Martinez’s career with McDonald’s began at 15 years old as a crew member at McDonald’s Yallambie, Victoria. Before stepping into the CEO role in March 2022, he led McDonald’s Korea, gaining extensive leadership experience.

During his tenure as McDonald’s Australia CEO, Martinez drove major initiatives, including launching MyMacca’s Rewards, a loyalty program now used by over 14 million customers, and enhancing restaurant execution and training, improving customer experience across the network.

Martinez has decided to spend more time with his young family and explore new opportunities beyond McDonald’s.

With Chiczewski taking over the top job, McDonald’s Australia looks set to continue its focus on customer engagement, operational excellence, and franchisee support.

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Triple M Breakfast co-host Natarsha Belling announced this morning that she will be stepping back from her role alongside Beau Ryan and Aaron Wood after just six weeks in the role. The decision comes as she balances her television commitments with Seven News.

Belling made the announcement during today’s show saying: “As you all know, I love journalism. I always wanted to be a journalist. It’s part of my DNA. It’s where my passion is and always will be. So over the past couple of weeks, I’ve been chatting with our incredible boss here at Triple M, and he has offered me an amazing new opportunity that allows me to follow my passion for journalism.

“So as many of you know, I also anchor the National News at Noon on Seven, and this new afternoon gig is the perfect match. While I love breakfast radio, I’m going to have to farewell you guys, and I want to thank SCA for giving me this incredible opportunity to join the amazing team at The Briefing on LiSTNR, it’s a premium news podcast that covers and investigates the major news of the day while still allowing me to continue to fulfil my commitments on Seven.

Belling went on to talk about the current news cycle, calling it one of the most “dynamic in history”. The broadcaster went on to praise her colleagues and acknowledging listeners saying “without you we are nothing”.

Belling will remain with Southern Cross Austereo (SCA) and transition into a new role as the host of LiSTNR’s The Briefing, Afternoon Edition. Her move reflects the growing emphasis on digital audio content, with LiSTNR continuing to expand its podcast and streaming offerings.

Triple M has yet to announce a replacement.

In a recent interview with Mediaweek SCA boss John Kelly, made an open bid for Jonesy and Amanda (Brendan Jones and Amanda Keller) to join Triple M. The pair currently broadcast on GOLD101.7 – which is part of the Australian Radio Network (ARN), but Kelly wants them to jump ship.

“They should be on our network, they should be at Triple M ” he told Mediaweek. “We’d love to have them,” he added.

While Kelly didn’t specify what time slot, if the pair did complete a like-for-like swap, they would end up replacing the station’s current show Triple M Breakfast with Beau, Tarsh and Woodsy.

Bellings announcement comes less than a week after the station and broadcaster Marty Sheargold mutually agreed to part ways.

The decision was made 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 off the back of a story about the Matildas’ recent defeats in the SheBelieves Cup.

In a statement, SCA’s chief content officer, Dave Cameron, said the company and Sheargold had “mutually agreed to part ways”.

He continued: “SCA takes its responsibility to listeners, shareholders, and clients seriously and its programming should align with the standards and expectations of its audience.

“Right now, it’s clear this is a moment for reflection and review. Triple M, and the wider SCA network, will continue to take all necessary steps to support staff. A new Drive show will be announced in due course. Triple M acknowledges Marty’s contribution over the past four years, and we wish him well for the future,” he said.

The statement also contained comment from Sheargold who said that “I fully understand the gravity of my comments”.

He continued: “I’d like to sincerely apologise to the Matildas and the broader organisation. I would also like to thank my immediate team for their hard work and apologise for the situation they now find themselves in.”

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Nine and Endemol Shine are under scrutiny after Married at First Sight (MAFS) became the subject of a police investigation following allegations that contestant Paul Antoine acted violently in an altercation with his on-screen partner, Carina Mirabile. NSW Police confirmed they are investigating after a complaint was lodged with SafeWork NSW regarding workplace health and safety concerns on set, as The Sydney Morning Herald reports.

The incident, which aired last week, saw Antoine allegedly punch a wall following an argument with Mirabile, who later said she was still processing the event.  “She was obviously the victim of this; you know, he acted violently in her presence,” said Joshua Fox, host of the MAFS Funny podcast. “And when I spoke to her, she was still questioning, ‘Well, maybe I shouldn’t have said what I said, which angered him.’” Fox noted that Mirabile’s reaction underscores a broader issue about how such behaviour is perceived and handled on reality TV.

Nine has since released a statement on the incident saying: “We would always cooperate with authorities in any investigation, we will not be making any further comment at this time.”

The network also added that “Nine and Endemol Shine take their obligations in respect to the health and wellbeing of the participants of this program extremely seriously.

“All participants have access to the show psychologist and welfare resources during filming, during broadcast and once the program has ended. Nine also have an additional service for participants should they like or need further individual and confidential psychological support. This service gives participants access to clinicians to support those involved in the program in relation to their experiences. This service is available to all participants for as long as they need it, it does not end.”

Brand risk: Why advertisers are watching closely

With MAFS still a major advertising draw for Nine, the controversy raises questions about how much brands are willing to associate with increasingly volatile reality content. Fox believes the backlash could make advertisers reconsider their involvement. “Why would any major brand – like Coles or family-friendly companies – want to attach themselves to something where every viewer is now saying it’s a show that enables abuse and coercive control?” he said.

MAFS has long tested the limits of reality TV drama, but as public sentiment shifts, brands may rethink their investment. “They need to acknowledge things have gone too far and reassess how they make these shows and their whole practices,” Fox added. The risk for advertisers isn’t just reputational – it’s about aligning with content that reflects their corporate values.

A tipping point

Fox believes this season marks a turning point for the franchise. “My take is that this show and the people who make it have now crossed a very dangerous line,” he said. “They’re setting a dangerous example to Australia that they are enabling this behavior.”

He also pointed to the show’s handling of duty-of-care responsibilities, questioning why action wasn’t taken earlier. “You got to think – if Nine cared enough to investigate, this happened six months ago. It’s only now a police matter because it’s on air and people are seeing it,” he said. “Producers should have gone, ‘This man has just acted violent in front of his partner during a domestic dispute. Our duty of care is removing him immediately.’”

As reality TV continues to push boundaries, MAFS may need to rethink its approach before more brands – and viewers – decide the drama is no longer worth the risk. “Every year gets more extreme,” Fox said. “Where’s the line?”

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Larissa Ozard has announced her next move following her departure from Seven last month, taking to LinkedIn to announce she has joined TEG general manager – marketing, live entertainment.

In the post, Ozard wrote: “VERY excited to share that I’ve joined the amazing team at TEG Pty Ltd as General Manager, Marketing – Live Entertainment. Big thanks to Geoff Jones, Tim McGregor and Rachael Carroll for the incredible opportunity!”.

Ozard stepped down from her as marketing director role at Seven after three-and-a-half years last month, after resigning from the company late last year.

Instead of a traditional press release, she 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.

Ozard’s appointment at TEG comes just a day after the company announced the appointment of Simon Cahill, head of commercial, and Jono Whyman, general manager of SXSW Sydney, as co-managing directors for SXSW Sydney.

The leadership changes at TEG 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.

Pictured: Larissa Ozard

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• This weekend, the Australian box office made $6,605,358, down -32% from last weekend’s $9,705,818.

Top 5

1. Bridget Jones: Mad About the Boy

Now in it’s third week in Australian cinemas, the fourth instalment in the Bridget Jones holds top spot for a second week running. The romantic comedy grossed $1,807,285 across 469 screens this weekend, down -36% from $2,808,578 earned last week across 508 screens last weekend.

Synopsis: Renée Zellweger reprises her role as Bridget Jones. Now a single parent, Jones balances parenting two young children, a demanding career, and the chaos of modern dating as she finds herself torn between a younger admirer and the unexpected possibility of romance with her son’s science teacher.

2. Captain America: Brave New World

The latest offering from Disney’s Marvel Cinematic Universe continues to hold second spot on the charts. Now in its third week, the film earned $1,412,618 this week after screening across 428 cinemas, down -42% from last week’s earnings of $ 2,439,671 from 503 screens.

Synopsis: With Sam Wilson (played by Anthony Mackie) taking over as Captain America from friend Steve Rogers (Chris Evans), he finds himself at the centre of an international incident after meeting with President Thaddeus Ross. Wilson and the new Falcon, Joaquin Torres (played by Danny Ramirez) are thrust into a crisis and must uncover the motive behind a sinister global scheme.

3. Ne Zha 2

The Chinese animated film also retains the same position as last week in its third week at the Australian Box Office. This weekend the film made $739,603 after being shown at 122 cinemas, a sharp drop of -51% from $1,504,128 generated across 136 screens last weekend.

Synopsis: The film follows the events of the first film, that see Ne Zha and Ao Bing survive the catastrophe by becoming Spirits. To stop from completely dissipating, Taiyi plans to rebuild Ne Zha and Ao Bing’s mortal bodies with the Seven-colored Precious Lotus. But amid the reconstruction, there are many obstacles.

4. The Monkey

The comedy horror film, written and directed by Osgood Perkins, saw a -31% drop in earnings this weekend with $403,417 across 230 cinema screens. In its debut last week, the film made $581,152.

Synopsis: Twin brothers Bill and Hal (played by Theo James) who find a wind-up monkey that begin a series of outrageous deaths that tear their family apart. Twenty-five years, the cursed toy resurfaces, unleashing a new wave of terror and forcing the estranged siblings to face their dark past.

5. A Complete Unknown

Now in its sixth week in Australian cinemas, the biopic, starring Timothée Chalamet, generated $299,968 across 221 screens. Last week, the film earned $406,192 at the box office.

Top 6 – 10

South by Southwest Sydney (SXSW Sydney) has revealed a wide range of attendance options which ensures a wide range of people can attend and customise their experience to suit their interests and schedules.

Attendees will be able to choose from free events, Conference Day Passes, single movie screenings and Festival Wristbands, alongside all-access 7-day Passes, which will be $400 cheaper than in 2024 during early bird release. They will go on sale from March 20.

• The new, limited Conference Day Pass starts at $295 for 75+ daily sessions across Tech & Innovation, Business & Leadership, Marketing & Media, Future & Sustainability, Culture & Lifestyle and Creative Industries.

• Full-week Conference and Festival access this year starts from $495, demonstrating a clear commitment to opening the event to a broader audience, and include hands-on professional development to upskill attendees.

Earlier this year, SXSW Sydney CEO, Geoff Jones, told Mediaweek there would be widespread changes to the event in 2025.

“We learned a lot from last year and from the exit surveys we’ve worked out the predominant reasons people go to SXSW – that’s networking, and education. It’s about getting ahead of the evolving world,” he said.

“This year we’re going to introduce more flexible ways to attend. We know our audience have time constraints, and there’s some obvious budgetary constraints in the world we live in, so we’re going to make what we used to call badges, which was your accreditation, into your pass.”

He added he wanted as many people as possible to enjoy their time at the world-famous festival of ideas.

“We’re not trying to gouge people, so we think by making the ticketing more flexible, it makes it attainable to more people. That’s what we want it to be.”

As a result, alongside the Conference Sessions and Festival Showcases, professional development programs have been extended, workshops, mentor sessions and networking meetups designed to foster innovation, leadership, and career growth.

• Conference-led professional development will cover AI and entrepreneurship, governance, marketing, leadership and more, providing practical skills, expert insights, and meaningful connections, to tackle the big questions.
• The Screen Festival will include seminars, film commentaries and matchmade mentoring to connect early- and mid-career filmmakers with industry vets. Covering technical filmmaking, funding, marketing, the festival circuit, audiences and more, it will provide insider insights, in an in-the-room and off-the-record environment.
• The Music Festival program will focus on future business, upskilling artists and professionals at all levels with a series of panels, workshops and mentor sessions on the topics of AI, new markets, careers and marketing trends.
• The Games Festival’s professional development will focus on investment and business development skills and global markets to empower indie game developers to find ongoing success commercially, as well as creatively.

SXSW Sydney is also expanding its free programming significantly with extensive brand and partner experiences already planned, alongside must-see music showcases from Wednesday to Saturday, and new for 2025, free access to the Innovation Expo on Saturday, and free family-friendly entertainment all day on Sunday—all in and around Darling Harbour.

Also new for 2025, single-session movie tickets ($25) will be available for all film screenings, alongside multi-day Festival Wristbands ($100 during early bird), for either the Screen, Music or Games Festival Showcases.

SXSW Sydney 2024 featured 1,600 sessions and events, including 400+ conference sessions, 150+ professional development sessions, 300+ music performances, 95 film screenings, 150 games, more than 400 brand-led events,  while attracting over 300,000 attendees from 56 countries. SXSW Sydney 2025 promises to elevate the event experience even further, with both Conference and Festival submissions tracking 20% higher year on year, from predominantly new contributors.

Conference Submissions remain open until 23 March, with public voting on potential Conference Sessions opening March 17th.

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After 14 years with Krispy Kreme Australia & New Zealand, Nicola Steele has been appointed global chief operating officer (COO) at Krispy Kreme’s global support office. Steele will relocate to Charlotte, North Carolina, to join the company’s global leadership team as the iconic brand embarks on an ambitious international growth phase.

Steele’s journey with Krispy Kreme ANZ began as a crew member, before rising through the ranks to CEO, a role in which she oversaw significant expansion and market success. Her tenure has been marked by strong leadership, innovation, and operational excellence, positioning Krispy Kreme ANZ as a key market within the brand’s global portfolio.

A new chapter in global leadership

In her new role as COO, Steele will work alongside Krispy Kreme global CEO Josh Charlesworth and senior leadership, including Terri Zandhuis, David Skena, Jeremiah Ashukian, Atiba Adams, Alison Holder, Angela Yochem, and Raphael Duvivier. Her primary focus will be on ensuring world-class operations, enhancing consumer experiences, and driving the company’s mission to become the most loved sweet treat brand in the world.

“I’ve had the opportunity to grow within the company, giving me a deep understanding and first-hand experience of almost every aspect of our business,” Steele shared on Linkedin. “I am thrilled to be getting back to my number one passion, operations, as all operators would agree, it is the heart and soul of all companies!”

A strong leadership legacy in ANZ

As Steele transitions to her global role, Sophie Cave will step up to lead Krispy Kreme ANZ, supported by a seasoned leadership team that includes Peta Neilsen, Aimee Cutajar, Michael Darling, Andrea Cuevas, and Gerald Taylor.

Steele expressed confidence in the ANZ team’s ability to continue the brand’s strong trajectory in the local market: “I have so much confidence in our current leadership team, who will continue to take Krispy Kreme from strength to strength in the ANZ market.”

Steele’s integrated operations team at the global support office will include Christie Cruz, James Carter, Sam Fellows, Mike Mazza, and Patrick McIntyre. Together, they will focus on optimising Krispy Kreme’s global operations as the brand accelerates its international growth strategy.

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Workplace Gender Equality Agency (WGEA) has released the second annual pay gap figures for 2023-24, revealing the persistent pay gap across advertising agencies and media owners, as well as the need for management and corporate boards to do more to close the pay gap, according to TrinityP3.

The data reveals figures on the gender pay gap for private-sector employers with a workforce of 100 or more employees.

Among the figures revealed were pay gaps as large as 20%+ in some of Australia’s major media companies and a gap of anywhere between 10% and 27% for many of the big multinational advertising holding groups.

For the second year in a row, marketing management and pitch consultancy TrinityP3 analysed the submissions of more than 30 media/adland employers and included their results in the charts below, along with links to the media and marketing companies’ employer statements at the bottom of this release.

WGEA’s latest figures show that the national average gender pay gap across all industries was 21.8%. While many of Australia’s highest-profile media and adland businesses were below this average, Lydia Feely, general manager of TrinityP3, said significant work still needs to be done in the industry.

“This is the second year where we have seen the WGEA pay gap numbers come out and clearly there are businesses who have spent the past 12 months working on addressing issues in their businesses around the gender pay gap,” said Feely.

“That being said, the numbers put the problem front and centre. What is clear is that many adland and media businesses have a significant difference in how they pay their staff, based on gender, and we need to do more to close the ongoing pay gap.”

Another positive this year was the growing number of companies who have published their own pay gap reports, such as Domain, Nine and REA, providing context to the WGEA figures.

“It’s good to see some companies, such as real estate classifieds Domain and REA, as well as News Corp, Nine, IPG Mediabrands, and Howatson + Co, publishing additional statements and giving context around their pay gap results,” she said.

“This helps employees and stakeholders understand what they are doing to address the pay gap and lets them highlight the progress they are making. It surprises me that, in the second year of this reporting, so many companies are still allowing these numbers to go out but not taking the opportunity, WGEA gives you, to make an employer statement. Making a statement and providing context all help show that you are taking this issue seriously.”

TrinityP3 argued that companies must do more, including actively benchmarking themselves, to ensure they aren’t slipping behind others. Freely said: “We know that companies who benchmark and track their performance do better in areas such as the gender pay gap.

“Once you establish where you are, you also then need to look at what other ‘like for like’ businesses are doing and if they are doing better than you, ask yourself: what have they done that, perhaps, I’m not doing.”

The WGEA numbers also showed that companies that had clear policies on the gender pay gap and who undertook regular payroll analysis performed better when it came to the gender. pay gaps they reported to WGEA.

Ensuring the workplace is safe and fair for all is an issue that TrinityP3 has actively campaigned on Three years ago the consultancy led the advertising industry in asking advertising agencies to sign statutory declarations around some of their key policies, especially in regards to workplace harassment and the use of non-disclosure agreements, as part of the pitching process for ad business.

Darren Woolley, CEO of TrinityP3, said: “If the industry is committed to being fair and inclusive, then closing the ongoing gender pay gap should be a high priority year round—not just the day the WGEA report lands. For real change to occur this needs to be an ongoing effort by everyone from the board, C-Suite and shareholders down.”

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UNICEF and Cricket Australia have teamed up with Howatson+Company to launch a fundraising campaign, The Appeal Appeal, turning a cricketing moment into an unmissable call for donations in support of gender equality.

The partnership between between the charity and sporting body supports gender equality for girls around the world — many of whom are still denied access to basic human rights, let alone the right to play sport.

‘Sport has a unique power to unite people’

The campaign is the first joint initiative of the partnership, rolling out a ripple-effect media strategy that turned the most anticipated moments on the field into a nationwide movement for change. Whenever a player appealed for a wicket at the MCG, an unmissable appeal for donations was simultaneously triggered across all stadium media including the big screens, and extended onto live TV broadcasts, radio, outdoor advertising, and social platforms—everywhere cricket fans were watching.

Through strategically placed QR codes, fans were encouraged to scan and donate instantly via a mobile experience, turning every cricketing appeal into an opportunity to make a tangible difference for gender equality.

“Sport has a unique power to unite people behind important causes. The Appeal Appeal brilliantly harnesses the energy of the game to drive real action for gender equality,” said Libby Hodgson, deputy director of UNICEF Australia. “By leveraging the excitement of the Women’s Ashes, we were able to shine a light on the barriers still faced by millions of girls globally and rally support to change their futures.”

Megan Barnett-Smith, head of social impact and sustainability at Cricket Australia, added: “We are committed to ensuring cricket is a sport for all. This partnership with UNICEF Australia allows us to contribute to meaningful change both on and off the field, using the platform of women’s cricket to champion equality.”

This is the first activation of the multi-year partnership, which harnesses sports as a powerful force for good, helping to break down barriers, promote participation, change attitudes, and strengthen inclusion.

Gavin Chimes, CCO of Howatson+Company, said: “This campaign transforms the game of cricket into a game-changer for gender equality. By syncing in-game appeals with live media takeovers, we created an unmissable moment for fans to take action. The response has been overwhelming, and we’re excited about the potential for this initiative to grow even further.”

Support from major partners

Qantas has supported the campaign as a long-term mutual partner of both UNICEF Australia and Cricket Australia. Alongside a financial contribution toward UNICEF’s gender equality programs, Qantas offered donors a chance to win 500,000 Frequent Flyer Points.

Are Media amplified the campaign by driving powerful editorial content featuring prominent female cricketers and their personal stories. This content was showcased across WHO, Woman’s Day, New Idea, that’s life, and Take 5, leveraging their extensive reach of 4.2 million* print readers per month, a total cross-platform audience of 4.8 million per month, according Roy Morgan, and 4.6 million social media touchpoints, according to GA4.

The publishing company sparked a groundswell of earned media and conversation, increasing awareness and engagement for the cause and establishing the campaign as a valuable form of social currency for key audiences.

“At Are Media, we believe in creating positive and meaningful change for women,” said Jane Huxley, Are Media CEO. “This campaign perfectly aligns with our core values, and we are proud to help amplify such an important message. Howatson+Company and UNICEF have created something truly innovative—turning cricket’s most iconic moments into powerful conversations about global gender equality.”

The Appeal Appeal has already achieved remarkable results, reaching over 6.8M Australians, with a total pro-bono media value of +$1.49M, provided by several key media partners including Seven, JCDecaux, oOh!, QMS, Cartology, Revolution360, NewsCorp, ARN, SCA and Are Media.

With such strong momentum, UNICEF Australia and Cricket Australia are now working to scale the initiative, ensuring The Appeal Appeal continues to make a lasting difference for children around the world.

Credits

UNICEF Australia
CEO: Tony Stuart
Deputy Director: Libby Hodgson
Head of Brand: Lisa van der Westhuizen/Gemma Hill
Head of Corporate Partnerships: Allison Bennett
Brand & Content Manager: Maryanne Seabra
Senior Media & Public Affairs Manager: Richard Parlett
Strategic Partnerships Manager: David Reis
Partnerships Manager: Sarah Dawson
Paid Media Manager: Maria Melicor

Cricket Australia
CEO: Nick Hockley
Head of Social Impact & Sustainability: Megan Barnett-Smith
Senior Player and Partnerships Lead: Simone Roberts
Senior Manager Commercial Communications: Sarah Carpinteri

Howatson+Company
Chief Creative Officer: Gavin Chimes
Chief Media Officer: Sasha Smith
Creative Director: Scott Zuliani
Senior Art Director: Jack Close
Senior Copywriter: Zak Hawkins
Design Director: Reece Lawson
Studio Lead: Simon Merrifield
Finished Artist: Patrick Rivera
Senior Producer: Caitlin Perz
Producer: Charlotte Breene
Videographer – Mark Broome
Senior Editor – Fraser Kelton
Group Business Director: Belle Simmonds
Senior Business Manager: Eddie Moult
Planning Director: Georgia Pritchard
Head of Strategy and Planning: James Turner
Investment Lead: Liz Lonsdale
Media Director: Sophie Jablonski
Senior Media Manager: Chris McMahon
Digital Manager: Jeffy Thomas

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Seven has released its line-up of sponsors and partners for the season before the AFL season kicks off on Thursday, 6 March.

This year the network is welcoming Toyota, McDonald’s, AAMI and Harvey Norman as broadcast partners for the full season.

They will be joined by other broadcast sponsors, including Google, Coles, Sportsbet, Bunnings, Chemist Warehouse, Industry Super Funds, Hostplus, CBUS, Telstra, NAB, Asahi Beverages, Uber Eats, OMO Ultimate, Cash Converters, Colgate-Palmolive, BWS and Virgin Australia.

Brands with major AFL packages or local market sponsors include Seek, HBF, Disney, Bupa and Complete Home Filtration.

Fan-favourite TV show, The Front Bar returns in 2025 with premier partner Lion, plus program sponsors Kia, Youi, BWS and Sportsbet, and this year OMO Ultimate is the naming rights sponsor of The Wash Up on Sunday night, with Virgin Australia, DURO-TUSS Cough Products and Sportsbet have signed on as sponsors of The Agenda Setters.

Under the new AFL rights package, Seven will broadcast 23 Thursday night games, 24 Friday nights, State Footy Saturdays, 25 Sunday afternoons, and five Sunday night matches, along with all marquee games, the entire Finals Series, the AFL Grand Final, and the Brownlow Medal, marking the most extensive free-to-air AFL and AFLW coverage in history.

“We’ve always said that Seven AFL is for everyone, and it absolutely is,” added Maclean. “So whether that is the legacy fan who loves the expert analytics or the lean-back fan who only watches the marquee games but loves the player stories – we’ve got them all.

“Our ambition is to feed the footy habits of all fan-types right across the course of the week, and leverage our different digital rights to create new and different ways in for brands.

“From 6 March, we will present live streaming of matches broadcast by Seven, full replays of matches broadcast by Seven, highlights of all matches of the AFL season including the Fox exclusive matches, extensive social clips, FAST channels and more exclusive, digital-first content.”

Expanding audience reach and brand integration

McClean said his team had learned key lessons from Seven’s recent Summer Of Cricket coverage and were hoping to attract new demographics through digital expansion.

“With cricket, there were questions being asked by the market about where our streaming audience would come from. Would it simply be a migration of audiences from linear to our streaming platform?

“But that wasn’t the case. If you look at the Big Bash, we saw a slight change in our audience profile to younger – but not only from the streaming introduction.”

As a result, Seven are trialling demographic-specific feeds to expand their reach. On select games, the AFL Kids Broadcast will feature animated graphics and younger commentators, offering a fresh entry point for family-friendly brands.

“It’s effectively a pop-up feed that sits on 7plus alongside the primary broadcast,” said McClean “It’s fully geared towards appealing to families and effectively kids. It’s a youth orientated package with pared down information, 3D- play avatars, plus younger callers and interviewers working side-by-side.

“It’s just a great way to onboard different brands who are very much wanting to play in that target market.”

The power of the 30-second goal break ad

One of the most compelling components of Seven’s AFL advertising package is the single-ad break after a goal. Unlike traditional ad breaks, where viewers may disconnect, Finney said this single moment captures fans at their peak emotional engagement.

“It is the most powerful 30 seconds in Australian advertising because it’s standalone,” she said. “The attention is so much higher, whether it’s your team or the competing team has just kicked that goal.  And as soon as it happens, that advertisement plays and you’re not getting up to make a cup of tea, you’re there and focused.

“A lot of our AFL partners and sponsors are really tailoring their creative around the sport as well. So it really connects at that level and then drives stronger outcomes for them.”

Streaming growth and data-driven advertising

7RedIQ, Seven’s own data visualisation platform, has shown that even without full digital rights on games, AFL fans have grown by 67% in two years, allowing for precision targeting in brand messaging.

“Streaming the AFL Grand Final (which had a total TV audience of 4.06 million) and the Brownlow Medal (1.27 million total TV viewers) and populating that platform with more footy-related type content means that even in the absence of streaming rights, we’ve been growing the number of people coming to the platform to connect with footy content,” said Maclean.

“Now that’s set to explode, obviously, across the course of this season.”

Competition with Foxtel?

For the first time this year, Foxtel and Seven are going head-to-head with their AFL content. The new seven-year $4.5 billion broadcast deal struck between the AFL, Seven and Foxtel means fans will get more content than ever before.

But how does that rivalry play out commercially?

“We always look at the market in terms of what others are doing, ” said Maclean. “Particularly when you’re both playing the same role in broadcasting the sport. They’ve got a role to play with AFL just as we do, and we do work together on the games we simulcast.”

“There are brands that just work with Foxtel and brands that just work with Seven so we look at what they do and they look at what we do, and it’s a healthy competition,” added Finney.

Measuring Success: Delivering value to brands

Finney is in no doubt that success throughout the season is multi-faceted, driven by clients own individual needs and benchmarks but “we put high ambitions on the work we create with brands and how that connects,” she said.

But both admit their overall strategy will help brands in three over-arching ways:

Audience growth and engagement: Metrics from Gemba and other research providers track campaign performance and brand health improvements.

Innovative brand activations: Success stories like AAMI’s “Save the Grand Final” campaign demonstrate the effectiveness of deep brand integration.

Short-term consumer response: Brands are leveraging digital expansion to drive immediate consumer action.

“The new rights package really is really is a game-changer for us,” said Finney, “We’re super-pumped for how we can connect with audiences. There are a lot of Australians now who don’t have an aerial, and so they’re watching linear TV linear through streaming. We’re going to be able to give the AFL to these viewers for free and that’s a great privilege.”

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Initiative has unveiled its new strategy team lineup aimed at elevating the media agency’s strategy and product offering for client growth.

The team is made up of well-earned promotions and new appointments and follows the recent appointment of Tom Dodd to the national chief strategy officer role.

Stepping into Dodds’ previous role as national head of strategy is Ali Coysh who was previously Sydney, head of strategy; Tom Davies will take on Coysh’s role of Sydney Head of Strategy with the addition of Product to his remit.

Newly appointed Clare Graham joins the agency as Sydney strategy director bringing a creative mindset to the team; Tate Nalen takes on the role of Melbourne strategy director, working alongside Graham plus Charles Dangibeaud, Perth’s head of strategy.

With an immediate remit to design and lead the next evolution of Initiative’s strategy offering the new national team will focus on prioritising adaptive strategies for its clients leveraging data-driven insights and emerging technologies, including AI.

Dodd said the establishment of the national strategy team reflects Initiative’s commitment to driving growth and transformation for both the agency and its clients; and he was immensely proud to be working with some of Australia’s brightest minds, reflecting the deep bench of strategic talent across the agency.

“In an era defined by rapid transformation and heightened client expectations, Initiative’s strategy team will push the boundaries of what media can achieve,” Dodd said. “Our new team will focus on building adaptive, insight-led strategies that harness the power of AI, data intelligence, and cultural fluency to unlock growth for brands.

“Since taking on the CSO role I have been wholly focussed on finding the right people to drive the business forward that embody the strong strategic culture we have built as an agency. I’ve known Ali for many years, he is an exceptionally talented thinker & brilliant human to work alongside, so I’m delighted to have him helm of our national strategy offering,” he added.

Dodd said of Coysh’s appointment: “Ali’s ability to take a brief and challenge it in the right ways to deliver the best client outcomes, has always been his sweet spot,” said Dodd.  “It’s rare to find a person who truly understands audiences and business problems and how they merge for growth like Ali does; watching his brain start to tick when he’s given a new brief is a lesson for us all…he’s the perfect person to help me lead Initiative’s strategy offering.

Coysh, whose agency career spans 15 years with roles in both London and Sydney, said: “Initiative has always been a strategic powerhouse, known setting up its clients for success. I’m excited to have our team take Initiative into a new era, we have such a wealth of talent across all markets it’s a formidable position to be in. With a strengthened strategy and product offering, and a proposition underpinned by market leading technology, tools and talent we are in a unique position to cement our proposition as the Cultural Experience agency.

“We are laser focused to help our clients navigate a challenging market, putting media at the forefront to deliver business growth with our distinct brand of strategic creativity. It’s an exciting time to be part of a team with a shared ethos to do things differently.”

Dodd added: “With a deep understanding of audience behaviour and business challenges, Initiative’s strategy offering is built to future-proof client growth and success—connecting brands to culture in meaningful ways while ensuring measurable business impact. This evolution reinforces Initiative’s reputation as a leader in strategic media thinking, ensuring its clients stay ahead in an increasingly complex and competitive landscape.”

These appointments follow recent new business wins including Netflix and Volvo plus recent contract extensions including Goodman Fielder and Fantastic Furniture. All appointments and promotions are effective immediately.

Top image: Top – Ali Coysh, Emma Greenhalgh, Tom Dodd, Clare Graham, Tom Davies.
Bottom left – Charles Dangibeaud. Bottom right – Tate Nalen

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John Beohm has jumped ship from BINGE to join Warner Bros. Discovery (WBD) as the local senior director of content planning and scheduling ahead of the launch of Max streaming service in Australia on 31 March 2025.

For the past four years, Beohm was the director of content at BINGE. Before BINGE, he also held content roles at SBS, Stan and BBC Worldwide.

“It’s an incredibly exciting time to be joining WBD,” Beohm said. “The WBD library and upcoming slate is world class, and I can’t wait for Australian audiences to get their hands on the full Max experience.”

Max will feature WBD’s renowned slate of content, including iconic brands and treasured franchises. From culture-defining series (The Last of Us, Euphoria, House of the Dragon) and theatrical hits (Barbie, Beetlejuice, Beetlejuice, Twisters), to fan favourites (Friends, The Big Bang Theory, Rick and Morty), Australians will have access to premium content from HBO, Warner Bros., Harry Potter, Discovery, the DC Universe, Animal Planet  and much more.

Beohm will report to Magdalene Ew, head of content, streaming for APAC. He joins Warner Bros. Discovery today, 3 March 2025.

Ew said of Beohm’s appointment: “John is an exceptional talent, and we are thrilled he is joining the Max team in Australia. His experience across many of the market’s most loved and recognisable platforms, including across a broad range of content pillars, gives him a deep understanding of local audiences.”

This comes after Warner Bros. Discovery (WBD) appointed Special as creative agency and EssenceMediacom as media agency for the launch of Max streaming service in Australia.

The Max platform will feature recently released theatrical hits from Warner Bros. Pictures and DC Studios, including Barbie, Beetlejuice, and Twisters. In addition, Max will house some of the most popular franchises in entertainment history, including Harry Potter, Lord of the Rings, and the DC Universe. Viewers can also expect a mix of real-life stories and family-friendly content from networks like TLC, HGTV, and Cartoon Network, with shows such as 90 Day Fiancé, Outback Opal Hunters, Ben 10, and We Bare Bears.

Top image: John Beohm

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Are Media has partnered with Inspired Beauty Brands to support the Australian launch of HASK’s Repair Pro Series and its updated brand identity.

Running from February to July, the collaboration includes a media campaign spanning editorial content, influencer partnerships, and digital integrations across Are Media’s beauty and lifestyle platforms.

The campaign aims to expand HASK’s presence in the Australian haircare market. As part of the partnership, Are Media hosted two launch events at its Sydney offices.

Last month saw beauty director Sally Hunwick led a session introducing the company’s newly launched micro-influencer beauty collective, which showcased HASK’s Repair Pro Series to an audience of 50 beauty consumers and content creators.

A seperate event saw model and presenter Ksenija Lukich host a brand immersion event for beauty editors and industry professionals. The campaign launch generated over 400 social posts from influencers and editors, reaching an estimated audience of 1.5 million.

Are Media’s beauty and lifestyle brands, including BEAUTY/crew, marie claire, ELLE Australia, and WHO, will play a role in amplifying HASK’s messaging through digital, print, and experiential activations. The partnership highlights the growing role of omnichannel media collaborations in driving brand awareness within the competitive beauty sector.

Are Media general manager of luxury, Nicky Briger, called the partnership a “match made in heaven”.

“We’re excited to partner with such a valued beauty brand in HASK. At Are Media, we don’t just report on beauty trends – we set them. Our extensive reach and the unmatched credibility of our editors make us the natural choice for brands looking to make a meaningful impact on Australian beauty consumers.

“These events also allow us to showcase our newly launched influencer collective, providing brands with unparalleled access to engaged audiences,” she said.

Inspired Beauty Brands vp of marketing, Jaime Kontz, said: “We’re so proud of the new direction HASK is taking in market which has demanded a new way of engagement. Working with Are Media and our Australian agency, Platinum Media & Communications, has ensured we are able to adopt both a digital-first presence combined with a highly integrated storytelling program across various media platforms. Our objective was to reintroduce the brand and connect with new audiences thoroughly via the channels our consumers admire and trust most within the beauty space”.

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Baskin-Robbins has launched the campaign for its Dinner Your Dessert range, which reimagines classic dinner-time staples, from Tuesday 4 March, 2025.

The new range delivers a striking and deliciously unexpected experience, inspired by the viral “real or fake” social trend. Baskin-Robbins is giving customers a fresh perspective on indulgence, by taking familiar favourites like burgers, pizzas, and tacos and giving them an ice-cold twist.

The Dinner Your Dessert lineup includes:

• Loaded Scoop Burger – Two all ice cream patties, special fudge sauce & whipped cream on a buttery brioche bun.
• Choccy-Top Tacos – A soft choc taco filled with creamy ice cream, crispy-crunchy toppings & drizzled with hot fudge.
• Scoop Burger – One all ice cream patty & special fudge sauce on a buttery brioche bun. Choco-Loco Nachos – Choc waffle-cone chips loaded with creamy ice cream then stacked with tasty toppings & hot fudge sauce.
• Polar Pizza – A double fudge-brownie pizza crust layered with ice cream, choc fudge & seasoned with sweet toppings – served whole or by the slice.
• Thickshake & Fizzy Float – Two creamy scoops of creamy ice cream blended with fresh milk or one scoop blended with your choice of fizzy & refreshing soft drink.
• Dough-Nugs – Bite-sized doughnut-inspired nuggets, perfect for dipping.

“We had a lot of fun developing this range, which is all about giving customers a new and exciting taste experience, and embracing life lived less ordinary,” said Julian Casa, Baskin-Robbins general manager.

“We wanted to create something that would grab the attention of a Gen Z and Millennial audience in particular, so tapping into a viral trend felt like the perfect way to do just that.”

With eye-catching visuals and playful messaging, the campaign is set to spark curiosity and drive customers in-store and via home delivery, to see – and taste – the range for themselves. The campaign will be supported by amplification across digital and social media channels, along with an activation in Brisbane’s CBD on Thursday, 6 March, inviting customers to “catch a free dessert” to celebrate the launch.

The Dinner Your Dessert range will be available at Baskin Robbins stores nationwide for a limited time only.

Credits:

• Client: Baskin-Robbins
• Campaign Creative: Type & Pixel
• Activation: Because
• PR & Influencer Engagement: alt/shift/

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SPC and Norco Co-operative are strengthening their positions in the Australian FMCG sector through an 18-month partnership with Minecraft, reinforcing their foothold in key supermarket categories. The deal, brokered by FMCG specialist agency Asembl on behalf of Merchantwise, follows the successful Norco Minecraft flavoured milk launch last year and represents a strategic push into fruit snacks, baked beans, spaghetti, and ice cream.

This collaboration underscores the growing role of brand licensing in the supermarket sector, where established food brands are leveraging popular entertainment properties to drive sales and consumer engagement. With Australia’s grocery sector becoming increasingly competitive, this expansion allows SPC and Norco to tap into the lucrative gaming audience while providing retailers with unique, high-turnover products.

Strengthening market position through licensing

Brand collaborations in the FMCG sector have proven to boost visibility, increase sales, and drive customer loyalty. By integrating Minecraft into multiple supermarket categories, SPC and Norco are reinforcing their presence in high-growth sectors while ensuring greater shelf space and consumer interest.

Merchantwise gaming director Patrick Lynam said, “This 18-month partnership with SPC will see Minecraft land on supermarket shelves across beans, fruit, and spaghetti categories, providing fans with an exciting and unique new way to experience their favourite brand. Following the success of last year’s launch of Norco Minecraft flavoured milk, we are proud to be extending the Minecraft brand into the freezer section with three delicious Norco ice-cream flavours that are bursting with both flavour and texture.”

SPC brings Minecraft to fruit snacks, beans & spaghetti

From today, Coles, Woolworths, and independent grocers will stock SPC’s new Minecraft-themed fruit snacks, baked beans, and spaghetti, inspired by in-game food sources and characters. The range includes:

• Diced Peaches in Golden Apple Flavoured Juice – featuring Australian-grown fruit with a Minecraft twist.

• Creeper Lime Flavoured Jelly with Diced Pears – a category-first innovation.

• Watermelon Flavoured Jelly with Diced Pears – exclusive to Coles.

SPC has also reimagined its core products in baked beans, spaghetti, and fruit snacks, introducing Minecraft-inspired packaging and an on-pack promotion. Shoppers will have the chance to win their share of 1.5 million Minecoins, along with exclusive Minecraft-branded merchandise in Minecraft Treasure Packs.

SPC global managing director Robert Iervasi added, “Bringing a global phenomenon like Minecraft to Australian supermarket shelves is incredibly exciting for SPC. We’re confident this partnership, featuring our Australian-made products, will energise the Beans, Fruit, and Spaghetti categories and delight both consumers and retailers.”

Norco brings Minecraft to ice cream

Minecraft is set to make its debut in the ice-cream category at Woolworths and independent supermarkets with a trio of new Norco flavours:

• Bubblegum Burst and Candy Apple Explosion – available at Woolworths and independent supermarkets.

• Time to Mine – exclusive to independent supermarkets.

Made with Norco’s creamy dairy, the ice creams feature chewy, crunchy, crackling inclusions, delivering a sensory explosion designed to bring Minecraft adventures to life. The range joins the Norco Minecraft flavoured milk lineup, which has been available since November.

Norco general manager of commercial and strategy Ben Menzies said, “An extension into ice cream was a natural fit for Norco. Research shows that 35% of Aussie consumers want to explore new and exciting ice-cream experiences, and what better world to tap into than Minecraft?”

Minecraft’s growing presence in Australian supermarkets

Minecraft first entered Australia’s food and beverage category in November 2024 with the launch of Norco Minecraft flavoured milks in Woolworths, Coles, and independent supermarkets. The range, available in a 375ml single-serve size, includes Choc Charger, Lime Lightning, Strawberry Slam, and Caramel Chug, all of which are lactose-free, have no added sugar, and carry a four-star health rating.

In December 2024, Minecraft expanded into the frozen foods category with a Steggles Frozen Crumbed Chicken Breast Nuggets packaging takeover at Coles and independent supermarkets.

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Wow. What was that? Well, in tipping terms one would assume a few (many) folks have lost a pretty penny – but in terms of shocks? The 97th (can you believe it?) Academy Awards have been nothing but a lesson in suspense.

With Anora crowned Best Picture and Sean Baker taking out Best Director – this year’s Oscars has offered something previous years have not – surprises.

Here is a list of the final winners 

Best Actor

Adrien Brody – The Brutalist – WINNER

Timothée Chalamet – A Complete Unknown

Colman Domingo – Sing Sing

Ralph Fiennes – Conclave

Sebastian Stan – The Apprentice

Best Actress

Cynthia Erivo – Wicked

Karla Sofía Gascón – Emilia Pérez

Mikey Madison – Anora – WINNER

Demi Moore – The Substance

Fernanda Torres – I’m Still Here

Best Supporting Actor

Yura Borisov – Anora

Kieran Culkin – A Real Pain – WINNER

Edward Norton – A Complete Unknown

Guy Pearce – The Brutalist

Jeremy Strong – The Apprentice

Best Supporting Actress

Monica Barbaro – A Complete Unknown

Ariana Grande – Wicked

Felicity Jones – The Brutalist

Isabella Rossellini – Conclave

Zoe Saldaña – Emilia Pérez – WINNER

Best Picture

Anora – WINNER

The Brutalist

A Complete Unknown

Conclave

Dune: Part Two

Emilia Pérez

I’m Still Here

Nickel Boys

The Substance

Wicked

Best director

Jacques Audiard – Emilia Pérez

Sean Baker – Anora – WINNER

Brady Corbet – The Brutalist

Coralie Fargeat – The Substance

James Mangold – A Complete Unknown

Best adapted screenplay

A Complete Unknown – Jay Cocks and James Mangold

Conclave – Peter Straughan – WINNER

Emilia Pérez – Jacques Audiard

Nickel Boys – RaMell Ross and Joslyn Barnes

Sing Sing – Clint Bentley and Greg Kwedar

Best original screenplay

Anora – Sean Baker – WINNER

The Brutalist – Brady Corbet and Mona Fastvold

A Real Pain – Jesse Eisenberg

September 5 – Moritz Binder, Tim Fehlbaum, Alex David

The Substance – Coralie Fargeat

Best original song

Never Too Late – Elton John: Never Too Late

El Mal – Emilia Pérez – WINNER

Mi Camino – Emilia Pérez

Like A Bird – Sing Sing

The Journey – The Six Triple Eight

Best original score

The Brutalist – WINNER

Conclave

Emilia Pérez

Wicked

The Wild Robot

Best international feature

I’m Still Here – Brazil – WINNER

The Girl with the Needle – Denmark

Emilia Pérez – France

The Seed of the Sacred Fig – Germany

Flow – Latvia

Best animated feature

Flow – WINNER

Inside Out 2

Memoir of a Snail

Wallace & Gromit: Vengeance Most Fowl

The Wild Robot

Best documentary feature

Black Box Diaries

No Other Land – WINNER

Porcelain War

Soundtrack to a Coup d’Etat

Sugarcane

Best costume design

Wicked – WINNER

Nosferatu

A Complete Unknown

Conclave

Gladiator II

Best make-up and hairstyling

A Different Man

Emilia Pérez

Nosferatu

The Substance – WINNER

Wicked

Best production design

Wicked – WINNER

The Brutalist

Dune: Part Two

Nosferatu

Conclave

Best sound

A Complete Unknown

Dune: Part Two – WINNER

Emilia Pérez

Wicked

The Wild Robot

Best film editing

Anora – WINNER

The Brutalist

Conclave

Emilia Pérez

Wicked

Best cinematography

The Brutalist – WINNER

Dune: Part Two

Emilia Pérez

Maria

Nosferatu

Best visual effects

Alien: Romulus

Better Man

Dune: Part Two – WINNER

Kingdom of the Planet of the Apes

Wicked

Best live action short

Anuja

I’m Not a Robot – WINNER

The Last Ranger

A Lien

The Man Who Could Not Remain Silent

Best animated short

Beautiful Men

In the Shadow of the Cypress – WINNER

Magic Candies

Wander to Wonder

Yuck!

Best documentary short

Death by Numbers

I Am Ready, Warden

Incident

Instruments of a Beating Heart

The Only Girl in the Orchestra – WINNER

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Crikey has appointed Alisha Rouse as editor of the publication.

She joins Crikey from News.com.au where she served as news editor and was previously assistant editor of Daily Mail Australia. Before relocating to Sydney for that role, she was based in London where she worked at the Islington Gazette, Daily Mail and Fleet Street newspapers.

Rouse brings an understanding of “fearless, fun and impactful journalism” having worked for small and large-scale publications.

“I’ve seen excellent work break through, and mass audiences used for campaigns that have changed millions of people’s lives, but also how tightly controlled many undoubtedly talented journalists are. I can’t wait to cover the stories that were previously, informally, off-limits,” she said.

Rouse continued: “I’ve long-admired Crikey’s unmatched reputation for mischief, intrigue and producing just really bloody good stories with a fraction of the resources available to its rivals.

“Crikey is truly a remarkable publication, and that’s a testament to you, our smart, inquisitive and dangerously informed readers — you drive us forward and demand we never miss a beat.

“So as your new editor, my vow is to continue prodding those in power in Canberra, media and major corporations to expose hypocrisy, question the kingmakers and generally cause a ruckus,” she added.

Previously, the publication made headlines in 2023 after Lachlan Murdoch paid more than $1.3 million in legal costs to Private Media, the publisher of Crikey, after dropping defamation action against the independent Australian media company.

Murdoch originally sued Crikey’s politics editor Bernard Keane and former editor-in-chief Peter Fray over an opinion piece published last year linking the Murdoch family to the January 6th attacks on the US Capitol.

Top image: Alisha Rouse

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Foxtel Group has secured exclusive broadcast rights to the Masters Tournament – widely regarded as the pinnacle of the sport.

The deal ensures that for the first time, all four major golf tournaments – the Masters, U.S. Open, The Open Championship, and the PGA Championship – will be available live and exclusively on Fox Sports, via Foxtel and Kayo Sports.

The agreement builds on Foxtel’s longstanding relationship with Augusta National Golf Club and strengthens the network’s commitment to delivering world-class golf content to Australian audiences.

Bringing Australian fans closer to the action, Foxtel will use expert commentators on-site at Augusta National.

Fox Sports Australia’s Warren Smith and former PGA Tour player Paul Gow will provide live analysis and insights. The coverage will be further elevated by top-tier production, including a 4K UHD feed from the storied Amen Corner, offering viewers an immersive experience.

Foxtel Group’s Executive Director – Commercial, Sport, Rebecca McCloy, highlighted the significance of this milestone, stating: “We are proud to become the exclusive Australian home of the Masters, one of the world’s most prestigious sporting events. This agreement marks a milestone for Australian fans of the game, who now have a single, exclusive destination to enjoy golf’s biggest and best tournaments. Choosing Foxtel Group as its preferred Australian broadcaster speaks to the strength of our long-standing partnership with Augusta National Golf Club.”

Masters Week will tee off on 7 April.

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Havas Group’s entertainment communications consultancy Organic Pacific has appointed Sarah Smith as acting managing partner as founding managing partner Annabelle Gigliotti steps back from the business following a cancer diagnosis.

Gigliotti tapped Smith for the acting role to focus on treatment following her stage four colon cancer diagnosis, which she has already completed a first round of chemo for, with positive results.

Smith has more than 20 years of experience in the entertainment industry career including roles as Foxtel group director of communications and PR, Stan head of PR – entertainment and sport, as well as stints with Endemol Shine, Warner Bros. Entertainment, ITV Studio Australia and Universal Music.

As she prepared to step away from the business, Gigliotti delivered two important messages to the industry: Organic is in safe hands. And get checked for cancer.

“I had NO symptoms apart from being tired all the time – and who in our industry isn’t?” Gigliotti said. “I’m open about my diagnosis because I want to encourage as many people to get checked as possible, particularly as rates of cancer for those in their 30’s and 40’s are increasing exponentially, and are too young for standard screenings.”

“I know I can fully focus on my treatment knowing Organic is in incredibly safe and capable hands with Sarah. As I built Organic, I hand-selected each one of our amazing team, not only on the strength of their professional capability but more so – their work ethic, and who they are as a human being. I value that, so do our clients and it’s what makes us so special.

“Sarah was my first choice to fill my shoes. She is an empathetic leader who prioritises the growth and wellbeing of her team as fundamental to success – and her deep first-hand experience in the reality of the landscape our clients work in day in, day out is unmatched. We are lucky to have her.”

Smith of stepping into the role: “I’m proud and privileged to be supporting Annabelle and leading the incredible Organic team – a team that did not miss a single beat when they were faced with such a sudden and unexpected change in the business. Annabelle is so loved and respected and this has hit everyone hard. Such a beautiful person, I vividly remember what Annabelle said to me in that first call. She said, ‘I need make sure my team are okay.”

“Annabelle and I have exchanged ideas about how to continue Organic’s growth trajectory and write the next major chapter as the business of entertainment continues to evolve, including through growth in the consumer products world projects and home entertainment campaigns. We’ve got this, Annabelle!”

James Wright, Group CEO at Havas Creative Network ANZ, Global CEO at HAVAS Red and Global Chair Havas PR Network said Gigliotti has the support of the entire Havas Village.

“Annabelle is one of the most respected entertainment PR experts in Australia and, more importantly, an incredible person. She and her phenomenal Organic team have the full love and support of the entire Havas Village wrapped around her as she faces this challenge.

“The outpouring of support Annabelle has received from across our Havas family and clients is a testament to the esteem and affection with which she is held across our industry. We know Organic will continue to thrive under Sarah’s leadership while Annabelle focuses on what’s most important right now.”

Gigliotti launched Organic into the Australian market in 2021. Since then, she has grown the business into a formidable force specialising in the business of entertainment, PR, social, influencer, partnerships and events, with current clients including Netflix Australia, Sony Pictures Entertainment, NBC Universal Pictures.

Top image: James Wright, Annabelle Gigliotti and Sarah Smith

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Digital Minds Group has been appointed to lead the paid search media (SEM) account for global transportation corporation, FedEx.

Lija Wilson, general manager at Digital Minds Group, said: “This is an incredibly proud moment for our team and a testament to the expertise we’ve built over the past decade in helping brands expand and thrive in international markets.”

“Winning an account of this scale reinforces our commitment to delivering high-impact, scalable growth on a global level.”

Nik Jan, founder of Digital Minds Group, added: “From day one, our mission has been to provide brands with a genuine, transparent partner – one that seamlessly integrates as an extension of their team to drive meaningful collaboration and scalable success.

“Winning the trust of a global leader like FedEx is a testament to that vision, and we look forward to helping them reach new heights through an innovative, results-driven approach.”

This win for the independent media agency comes after welcoming four new digital recruits to its team last year following new client wins in eCommerce, travel, real estate, and B2B.

David Williams has been appointed to manage the agency’s performance creative division. In July, Digital Minds launched its performance creative division following increased demand from current and new clients to support a broader creative and content service offering.

Margarida Halatjan joins as an SEO manager after relocating from a role in the UK and managing SEO across a number of global brands. Elliot Richtor has been appointed senior performance manager, having previously held senior digital roles with Initiative and Resolution Digital. Sam Millard also joins the team as associate performance manager, coming to Digital Minds with agency-side experience in digital planning and channel strategy.

Top image: Nik Jain and Lija Wilson  

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Zitcha has appointed Jim Kane as vice president of sales – global, as the company continues to expand across international markets.

Kane led sales for Walmart’s Sam’s Club division at WPP’s Triad Retail Media, playing a key role in its integration following Walmart’s acquisition. He also helped launch the first retail media network in the sporting goods sector at DICK’S Sporting Goods and has advised C-suite executives on retail growth strategies.

He will be responsible for defining and executing Zitcha’s global sales strategy, driving revenue growth and expanding the company’s international footprint.

Zitcha will lead and develop a high-performance sales team, and foster relationships with key retailers, brands, and advertising partners. In addition, he will refine the company’s go-to-market strategy, and leverage data analytics and market intelligence to optimise sales performance and drive product innovation.

The Australian-founded retail media platform empowers retailers to unlock their full potential by seamlessly integrating all their media assets – onsite, offsite, and in-store. It provides a complete and scalable solution that simplifies and automates previously manual processes, allowing brands to leverage retailers’ first-party customer data for personalised and impactful advertising experiences.

“After meeting Jim, the decision to bring him on board was an easy one,” Nick Hinsley, Zitcha’s chief revenue officer, said. “His firsthand experience with the internal challenges and relationships within a retailer when considering or scaling a retail media network is invaluable. He has broad and deep knowledge of global retailers – those already operating networks and those looking to fast-follow with their own.

“Importantly, he is passionate about Zitcha’s platform, its market position, and long-term vision. He will be a trusted advisor for our team and partners, and is an important addition as we continue to grow Zitcha around the world.”

Kane said of his appointment: “Retail media is evolving quickly, and Zitcha is uniquely positioned to support retailers in building networks that have real impact, for themselves and their brand partners. Built from the retailer’s perspective, the Zitcha platform is a game changer for its ability to unify retail media across multiple environments.  I’m looking forward to working with the team to further establish Zitcha as the partner of choice for retailers and brands around the globe.”

Kane’s appointment follows Zitcha’s recently appointed Debra Berman and Jonathan Waecker, to senior advisory roles as the company accelerates its global ambitions.

Top image: Jim Kane

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Under Armour has extended its partnership with dual-code rugby player Mark Nawaqanitawase for another two years.

The extended partnership reinforces Under Armour’s commitment to supporting world-class athletes at every stage of their careers – both on and off the field.

Nawaqanitawase, who joined the Under Armour family in 2023, embodies the brand’s core values of performance, ambition and excellence. His sporting career, from representing the Wallabies in 11 Tests and making his mark in international sevens to now stepping into his first full National Rugby League (NRL) season with the Sydney Roosters, is a testament to his adaptability and determination.

As he gears up for his first full season with the Sydney Roosters, the sporting brand will keep supporting him with the best-in-class performance gear, including the UA Magnetico Elite 4 boots, designed for precision and agility. With his natural athleticism and drive to succeed, Nawaqanitawase is poised to be a standout player in the NRL, and Under Armour is proud to stand by him during this defining moment in his career.

“Mark is the definition of an athlete who pushes boundaries, embraces challenges and rises to the occasion,” Fernando Reani, Under Armour’s managing director for Australia and New Zealand, said.

“His journey from rugby union to the NRL is a testament to his versatility and determination – qualities that align perfectly with Under Armour’s relentless pursuit of performance. We’re excited to stand beside him as he takes on this new chapter, ensuring he has the best gear and support to dominate on the field and inspire the next generation of athletes.”

Nawaqanitawase said of his partnership with the brand: “The past two years with Under Armour have been incredible, and their belief in me has played a huge role in my growth as an athlete. Their support goes beyond just the gear – it’s about pushing me to be my best and helping me perform at the highest level. Stepping into the NRL is a huge moment for me, and I couldn’t ask for a better partner to have in my corner. I’m pumped to continue this journey with Under Armour as I take on this next challenge.”

Nawaqanitawase’s transition to the NRL strengthens Under Armour’s strategic vision in Australian team sports. Through its joint venture with ISC, the brand is deepening its footprint in rugby league and other team sports codes in Australia, reinforcing its commitment to equipping the next generation of elite athletes with performance-driven innovation.

Under Armour has produced one of the brand’s signature “Origin Stories” video series to mark the partnership renewal. The series provides fans with a behind-the-scenes look at Mark’s evolution, from his early days in rugby union to his transition into the NRL. Set to be released ahead of the Roosters’ season opener on Thursday, 6 March, the series explores Mark’s journey, the challenges he has overcome, and his ambitions for the seasons ahead. A teaser has been released across UA channels today.

With Mark’s first full NRL season with the Sydney Roosters approaching, Under Armour is proud to continue championing his success, amplifying his impact on the game, and supporting him as he writes the next chapter of his legacy.

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