REA Group’s chief executive officer, Owen Wilson, has announced his retirement after over a decade with the company. The announcement coincides with the release of the company’s H1 FY25 results, highlighting significant revenue and profit growth.

On Thursday, Wilson informed the board of his intention to retire from “full-time executive roles” in the second half of 2025. Wilson first joined REA Group as chief financial officer before stepping into the role of CEO, leading the company for the past six years.

Wilson reflected on his tenure: “It has been a privilege to lead REA Group for the past six years, and I am proud of all our team has accomplished.

“The business is in excellent shape as evidenced by the results we have announced today. We have an exciting strategy and a talented and committed team to deliver it. I want to thank them wholeheartedly for all the tremendous support I have received over the years.

“REA’s future is undeniably exciting. I would also like to thank the REA Board, Robert Thomson, and Lachlan Murdoch for entrusting me with such a great company and incredible business.”

Strong H1 FY25 performance

REA Group’s H1 FY25 results, covering the half-year period ending December 31, 2024, underscore the company’s continued growth trajectory. The report revealed:

• A 20% increase in revenue to $873 million.

• A 22% rise in EBITDA excluding associates, reaching $535 million.

• A 26% increase in net profit, totalling $314 million.

• Australian revenue up 19% year-on-year to $809 million, excluding the acquisition of Realtair, which was consolidated from 1 July.

Despite strong financials, REA Group’s operating costs rose 16%, while Australian expenses grew 13% (excluding the Realtair acquisition).

The company’s board has also declared an interim dividend of $1.10 per share, fully franked, marking a 26% year-on-year increase.

REA Group’s flagship property platform, realestate.com.au, further cemented its market leadership in H1 FY25, with 5.1 million more Australians visiting the site every month on average than its closest competitor.

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The NFL has locked in a multiyear commitment to host regular season games in Melbourne, marking a historic expansion into Australia’s sporting capital from 2026.

The league’s first-ever Australian regular season clash will take place at the Melbourne Cricket Ground (MCG), with the Los Angeles Rams named as the designated team.

NFL Commissioner Roger Goodell called the move a significant step in the league’s global expansion, saying, “Expanding to Melbourne, a city with a rich sports history, underscores our ambitions to become a truly global sport.”

Victorian Premier Jacinta Allan hailed the announcement as a win for fans, jobs, and businesses, with Tourism Minister Steve Dimopoulos promising visitors will experience “Melbourne’s unmatched culture, food, and entertainment scene.”

“Melbourne will become the only city in the world that will host an international tennis grand slam (tournament), a Formula One Grand Prix and now an NFL regular-season game,” Ms Allan said.

Los Angeles Rams owner E. Stanley Kroenke said the team’s deep ties to Australia and the Pacific made them the ideal choice to headline the NFL’s Australian debut, calling it an exciting new chapter for both the Rams and Kroenke Sports & Entertainment.

Australia is an emerging powerhouse for the NFL, with a rapidly growing fan base now reaching 6.6 million nationwide.

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As Australians devour this year’s season of Married At First Sight and its lineup of love-seeking singles, the show’s creators are still fine-tuning the behind-the-scenes details – including brand integrations.

For the show’s executive producer John Walsh, their integration has to be seamless. “If it was forced into the show it would break the spell of authenticity,” Walsh told Mediaweek.

It is a sentiment echoed by EndemolShine Executive producer Alexandra Spurway, who stressed to Mediaweek the importance of authenticity when it comes to brand integration.

“When we’re making MAFS, first and foremost, it’s about relationships and it’s about the people that come into the experiment,” she said. “If there are integrated brands that want to work with MAFS of course we’re open to that, as long as it fits the essence and the authenticity of the show. We’re not an infomercial.”

The 2025 sponsorship lineup remains strong, with KFC marking its ninth year as a key partner. Other returning sponsors include Nestlé (3 seasons), Stan (4 seasons), Chemist Warehouse (2 seasons), Uber (2 seasons), and HBF (2 seasons).

Brands like Youi Insurance, Snooze, Cocobella, Palmer’s Skincare, BIC, Garnier, Maybelline, Simon Curwood Jewellers, Domain, Finder, KenoGO, and Snaffle are also back, reinforcing MAFS’ commercial appeal as it continues to dominate screens.

Walsh said the decision making process for which brands eventually end up on the show is a long and detailed one. “First of all the request gets filed and then it gets filtered by the sales department and then it gets to us,” he said adding, “then it’s discussed by the producers and everyone has to agree that it is something that will fit naturally into the show”.

“We limit the opportunities for what brands can ‘make it’ into the couple’s residence, because it has to work editorially, for example take Uber Eats, food delivery fits very easily into the show. There’s a young couple living in an apartment and they get food delivered – that’s a very natural thing,” he said.

Meanwhile, Sarah Stewart, Powered’s director of content partnerships and client experience, said: “It is fantastic to again see so many brands align with MAFS and further extend their sponsorships. The audience of Married at First Sight is deeply engaged and research shows brand recall is high.”

Married at First Sight screens Sundays at 7pm, and Mon-Wed at 7.30pm on Channel 9 and 9Now.

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Special has been appointed as the creative agency of record for Warner Bros. Discovery (WBD) to lead the launch of Max in Australia.

The creative agency will work across brand strategy, advertising, earned media and content ahead of the global streaming service’s launch in Australia in H1 2025.

Max will be home to the best of some of WBD’s most treasured franchises, including Harry Potter and the DC Universe. The platform will feature content from HBO, Warner Bros., Discovery, Animal Planet, Cartoon Network and more.

“Launching a brand like Max is a once-in-a-lifetime, so we needed an agency as bold as the opportunity. Enter Special: from day one, they nailed it with a pitch concept that’s punchy, innovative and unapologetically Max,” Sasha Mackie, senior director of marketing and publicity ANZ, Warner Bros. Discovery, said.

“We can’t wait for Australia to see what’s coming – it’s going to be special in every sense of the word.”

Lindsey Evans, partner and CEO at Special Australia, said: “From the outset, the Warner Bros. Discovery team inspired us with their smarts, passion and ambitious drive to set a new standard.

“This, coupled with their premium product offering, creates a unique opportunity to engage in the conversations and moments that matter to people, leaving lasting cultural impact and extraordinary value creation.”

Last month, WBD appointed EssenceMediacom as the media agency to lead the launch of the Max streaming service in Australia.

The media agency will lead all media aspects, including media strategy, planning, implementation and measurement. They will also support the global media and entertainment business’ in-house team across biddable channels.

At the time, Mackie said: “This premium value proposition needs a media agency who is up to the task of getting that message out far and wide, and we think EssenceMediacom is the agency to do that. The connection, chemistry and culture fit was evident from the outset, and their team really impressed with clear articulation of the strategy, and focus of delivery against results.”

Pippa Berlocher, CEO of EssenceMediacom Australia and New Zealand, added: “We couldn’t be more excited to partner with Warner Bros. Discovery on the launch of Max in Australia. “WBD content has always been at the cutting edge of culture and we’re looking forward to helping them breakthrough and bring it to life locally in a uniquely Aussie way. From the first interaction of the pitch, we loved working with the team at WBD and had amazing chemistry from the start. We can’t wait to get cracking.”

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Omnicom has reported $4.3 billion in revenue, organic growth of 5.2% and net income of $448.0 million, for the quarter ending December 31, 2024.

The holding company’s revenue for Q4 of 2024 rose d $261.3 million, or 6.4%, to $4,322.2 million

Worldwide revenue growth in Q4 2024 compared to Q4 2023 was led by an increase in organic revenue of $212.2 million, or 5.2%. Acquisition revenue, net of disposition revenue, increased revenue by $73.3 million, or 1.8%. The impact of foreign currency translation reduced revenue by 0.6%.

In terms of organic growth by discipline, Q4 2024 saw these results: 7.1% for Media & Advertising, 9.1% for Precision Marketing, 10.3% for Public Relations, 1.8% for Execution & Support, and 4.9% for Experiential, partially offset by declines of 4.3% for Healthcare, and 11.6% for Branding & Retail Commerce.

By region, organic growth results in Q4 saw: 9.9% for the United States, 1.8% for Asia Pacific, 1.2% for the United Kingdom, 16.1% for Latin America, 0.1% for Other North America, and 1.7% for the Middle East & Africa, partially offset by a decline of 2.1% for Euro Markets & Other Europe.

Looking at full year results, the holding company reported $15.7 billion in revenue and organic growth of 5.2%, with net income of $1,480.6 million.

“With 5.2% organic revenue growth for both the fourth quarter and full year, and even higher growth in adjusted EBITA and adjusted EPS, our strong operational execution gives us confidence for continued strength in 2025,” said John Wren, chairman and chief executive officer of Omnicom.

“From this position of strength, we are incredibly well prepared for and excited about the complementary combination of businesses and cultures with our proposed acquisition of Interpublic. Together, clients and employees will benefit from expanded products to deliver superior creativity, innovation and effectiveness.

“We will also bring together unparalleled data assets to market, fueling leading creative, produced at scale, and activated by the world’s top-ranked media practice to drive measurable sales. We see significant upside potential through expected revenue and cost synergies that can drive growth beyond what Omnicom was delivering alone.”

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The winners of the 2025 AACTA Awards Industry Gala, presented by the Foxtel Group, have been announced, with Boy Swallows Universe emerging as the biggest winner in the television categories. The prestigious event, held at HOTA on the Gold Coast, marked the first of two major AACTA ceremonies this week, with more awards to be presented on Friday night.

Netflix and ABC were the only winners in the television category, reinforcing their dominance in Australian content production. Other big winners included Muster Dogs, Spicks & Specks, Bluey, Grand Designs Australia, Miriam Margolyes Impossibly Australian, and Hard Quiz host Tom Gleeson.

Boy Swallows Universe leads the pack

The critically acclaimed adaptation of Trent Dalton’s bestselling novel won multiple categories, solidifying its place as one of the standout productions of the year. Notable wins included:

• Best casting in television – Nikki Barrett

• Best cinematography in television – Shelley Farthing-Dawe (Episode 4)

• Best direction in drama or comedy – Bharat Nalluri (Episode 1)

• Best editing in television – Mark Perry (Episode 4)

• Best costume design in television – Kerry Thompson (Episode 4)

• Best production design in television – Michelle McGahey (Episode 4)

• Best sound in television – Sam Hayward, Scott Mulready, Danielle Wiessner, Nigel Christensen (Episode 4)

• Best original score in television – Johnny Klimek, Gabriel Isaac Mounsey (Episode 4)

Netflix and ABC share the spotlight

With Boy Swallows Universe dominating, the television awards were largely split between streaming giant Netflix and the national broadcaster ABC. Other ABC winners included Spicks & Specks, Grand Designs Australia, and Miriam Margolyes Impossibly Australian, reinforcing the network’s strong slate of factual and entertainment programming.

Tom Gleeson took home the Best Comedy Performer award for his hosting role on Hard Quiz, while ABC’s Spicks & Specks won Best Entertainment Program. In the lifestyle category, Grand Designs Australia continued its success, taking home the Best Lifestyle Program award.

AACTA film categories see surprises

While television winners took the spotlight, early film categories saw Furiosa: A Mad Max Saga take home Best Costume Design in Film, while Better Man won for Best Casting in Film. The much-anticipated Binge film How to Make Gravy missed out in its first categories but remains a strong contender for Friday night’s main awards.

The second AACTA Awards ceremony will take place on Friday, 7 February, airing live on Ten at 7:30pm AEDT. A special extended broadcast, including all awards from the night, will be available from 7:30pm on Saturday, 8 February on Binge and Foxtel (Famous and On-Demand).

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Liz Hayes is stepping down from Nine to pursue new opportunities outside the network after 44 years.

Hayes career with Nine spans 9News, Today, 60 Minutes and Under Investigation with Liz Hayes.

However, viewers can expect to see her on their screens on Nine for special stories and events.

Hayes said: “When I arrived at Nine I had little more than a notebook and a typewriter, but like my new and far more experienced colleagues, I carried with me an enormous passion for telling stories. I was blessed. I had found my tribe. Even Nine’s owner at the time, Kerry Packer, seemed to carry the same passionate story telling gene.

“Of course since then much has changed. The media world has evolved as have I. What hasn’t changed is the need for good stories to be told, and I will continue to tell them.

“I leave Nine grateful for the decades of experience, the wonderful friendships that have endured and deeply appreciative to the many people who trusted me to tell their stories.”

Nine director of television, Michael Healy said: “Liz Hayes is an Australian television legend and has dedicated most of her career to Nine, she will leave an undeniable legacy.

“Her many accomplishments speak volumes about the type of journalist she is – tenacious, a truth seeker, and above all, a storyteller. I’d like to recognise Liz for the impact she has had on Australian journalism and thank her for all she has done for Nine over the past 44 years.

“We know Liz’s next chapter will be just as successful as her last, and she has our full support.”

Hayes’ expansive and award-winning media career allows for an incredibly diverse and impressive portfolio of stories. She is a master storyteller who boasts an innate ability to connect with people. However, her impact extends beyond storytelling, with Liz firmly cemented as one of Australia’s most accomplished women in media.

She joined 9News in 1981 as a reporter and then went on to present the morning bulletin. In 1986 she became co-host of Today with Steve Liebmann, a role she held for 10 years.

Hayes joined 60 Minutes in 1996 and has covered everything from US presidential elections to the heart-wrenching Syrian refugee crisis, as well as natural disasters across the globe.

Renowned as one of the greatest interviewers on Australian television, she has sat down with Prime Ministers and politicians, influential business people, Hollywood actors, music legends, and world-class athletes. But ultimately, Hayes’ greatest impact has been shining a light on the stories of everyday people who find themselves in extraordinary situations.

Over the past four-and-a-half decades, Hayes’ contribution to journalism has been recognised with a Logie Award for producing and presenting acclaimed documentary The Greatest Gift and the 2024 Media Diversity Australia Award for Under Investigation with Liz Hayes. The award celebrates journalists making an outstanding contribution through their reporting on diverse people or issues in Australia, and was the first time any commercial television network has been recognised in this category.

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Top 5

1. A Complete Unknown

Timothée Chalamet nabs his second Academy Award nomination for Best Actor as Bob Dylan in A Complete Unknown, which is now in its second week of release in Australian cinemas. The film centres takes audiences back to 1961 when an unknown Dylan arrives in New York City with his guitar and forges relationships with musical icons on his meteoric rise, culminating in a groundbreaking performance that reverberates around the world.

Total Australian Box Office gross to date: $4,275,391

2. Babygirl

Nicole Kidman plays Romy, a successful tech CEO who risks her career and family for a passionate affair with her young intern, Samuel, played by Harris Dickinson.

Total Australian Box Office gross to date: $1,187,994

3. Mufasa: The Lion King

The spin off from The Lion King centres on young cub Mufasa who is lost and alone and crosses paths with Taka, a royal heir. Their encounter sparks an epic journey as a band of misfits set out to shape their destinies.

Total Australian Box Office gross to date: $27,013,683

4. Sonic the Hedgehog 3

Sonic, Knuckles, and Tails reunite to face Shadow, a powerful new foe unlike any before. Outmatched at every turn, they form an unexpected alliance to stop him and save the planet.

Total Australian Box Office gross to date: $29,244,384

5. Paddington in Peru

Total Australian Box Office gross to date: 16,262,456

Top 6 – 10

6. We Live in Time
7. Conclave
8. Companion
9. Creation of the Gods II: Demon Force
10. Detective Chinatown 1900

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IAB Australia has launched an interactive decision-making tool designed to help marketers enhance paid search campaign performance by maximising existing success or addressing underperformance. Developed by industry experts from IAB Australia’s Future of Search Working Group, the tool is a key feature of the newly released ‘How Search Engine Advertising Auctions Work’ Guide.

The Guide offers comprehensive insights into the mechanics of search advertising, covering topics such as different auction models, the significance of quality scores, the impact of ad assets and extensions, ad ranking in shopping experiences, and best practices for campaign optimisation. Additionally, it includes a glossary of key terms and a collection of useful industry resources.

Gai Le Roy, CEO of IAB Australia, said: “With $6.9 billion being spent annually on the Australian paid search market, it is vital that marketers grasp the mechanics of search auctions and leverage the right tools to optimise performance. Even a small improvement can result in significant financial upside for advertisers.”

The launch of the Guide coincides with a leadership transition within the Future of Search Working Group, as outgoing chair Gary Nissim (Indago Digital) passes the reins to Jonathan Henshaw, head of product and innovation at Ryvalmedia.

“This is such a transformative time in search, with the convergence of AI and evolving user behaviours. I’m excited to lead this talented group of industry practitioners who will play a crucial role in unlocking insights to help brands navigate this new landscape,” said Henshaw.

The Future of Search Working Group comprises representatives from Indago Digital, Google, GroupM, Hearts & Science, Howatson & Co, iProspect, Microsoft, Monks, Performics, Ryvalmedia, Woolworths, Admatic, and Half Dome.

The new decision-making tool and guide are now available for industry professionals looking to enhance their paid search strategies in an increasingly complex and competitive digital environment.

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Publicis Groupe has reported impressive numbers in its Q4 results with organic growth rising to 6.3%, leading to an increasing to 5.8% for the full year.

The multinational holding company performed well across all regions: the US +4.9%, Europe +5.4% and Asia Pacific at +6.3%.

Publicis Groupe maintained industry-leading financial KPIs with 18% operating margin rate, headline EPS up +4.9% at €7.30, free cash flow at €1.84 billion.

The company is ‘confident’ to continuing outperformance in 2025 with organic growth guidance of +4% to +5%, operating margin rate slightly above 18% and free cash flow of €1.9 to €2.0 billion.

Arthur Sadoun, chairman and CEO of Publicis Groupe, said: “Thanks to a very strong Q4, Publicis became the largest advertising company in the world in 2024.

“We are ending the year in the number one position across the board, growing three times faster than our holding company peers, and five times faster than the IT consultancies. We delivered industry-high financial ratios while stepping up the pace of our investments in AI and talent. Once again, we topped the charts in new business rankings.

“But even more importantly, we are accelerating on our status as a Category of One thanks to our unmatched 1st-party data capabilities, our connected media ecosystem, our creative firepower, and our 25,000 engineers, brought together through the Power of One. This makes us confident in significantly outperforming the industry in 2025 for the 6th year in a row.”

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Australian cinemas enjoyed a blockbuster summer, with audiences flocking back to the big screen for a season packed with cultural moments and franchise hits.

From November 28, 2024, to February 2, 2025, cinemas pulled in 13.5 million admissions – a 9% jump year-on-year. Growth was particularly strong among hard-to-reach audiences, with P18-39 viewers and families (parents with kids under 16) both up 8% YOY, driven by a stellar lineup of family-friendly blockbusters.

The standout film of the summer was Moana 2, which delivered 3.07 million admissions, securing its
spot as the third highest-grossing animated film of all time in Australia. This success builds on Disney’s Inside Out 2, which achieved a record-breaking performance as the highest-grossing
animation ever, earlier in 2024.

Wicked followed closely behind as the second biggest film of the summer, with over 2.4 million
admissions to date, making it the second highest-grossing live-action film of all time.

Sonic the Hedgehog 3 has delivered 1.73 million admissions to date and has surpassed Sonic The
Hedgehog 2’s box office earnings by +29% to become the highest-grossing film in the franchise.

Mufasa: The Lion King also had a strong run since releasing in late December with 1.48 million
admissions so far, reaffirming the franchise’s enduring popularity.

New Year’s Day release Paddington in Peru has delivered 1.03 million admissions across its run so
far, making it the highest-grossing film in the Paddington franchise—surpassing the original 2014
Paddington by +43%.

The strong slate has also helped contribute to the strongest January box office delivery since 2020.

Guy Burbidge, who is the managing director of Val Morgan Cinema said: “We knew this summer school
holidays would be big, and these record-breaking results prove that Australian’s love for cinema has
never been stronger. The growth across key demographics is a clear indication of the demand – and
it’s only going to get bigger with the depth of content lined up this year.”

The latest SMI report, released Monday, underscores the rising value of cinema advertising, with ad spend surging 8.8% in CY2024 compared to the previous year.

Looking ahead, 2025 is set to be a massive year for youth and family films, with major releases landing before June, including A Minecraft Movie, Mission: Impossible 8, How to Train Your Dragon, 28 Years Later, and F1.

The second half of the year is equally stacked, with huge franchise titles expected to dominate the box office. Among them: Jurassic World: Rebirth, Superman, The Fantastic Four: First Steps, Wicked: For Good, Zootopia 2, and the highly anticipated Avatar: Fire and Ash, which is tipped to be 2025’s biggest film.

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Foxtel Media has appointed Ben Sumpter as Melbourne business development manager, marking his return after 15 years with the company in senior roles, including client engagement director and general manager Melbourne.

With experience across Seven Network and Network 10, Sumpter steps into the newly created role to expand Foxtel Media’s presence in Victoria, drive new partnerships, and unlock targeted ad opportunities for brands.

His focus? Tapping into the fast-growing independent agency and direct advertiser market, leveraging Foxtel Media’s premium audiences with geo-targeted delivery at scale.

Of his return, Sumpter said: “In the four, short years I’ve been away, Foxtel has moved from Australia’s leading
subscription TV network to a digitally led pioneer in the streaming scene. Now with over 4.6 million digital subscribers and Foxtel Media’s Characters offering across Kayo Sports and BINGE, advertisers have unparalleled targeting options across locations and audience segments.

“Being able to target audiences from specific locations changes the game for local brands, especially with Melbourne’s passion for AFL and NRL. It’s an exciting time to be working at Foxtel Media, and I look forward to growing our business throughout Victoria.”

Meanwhile, Foxtel Media’s chief sales officer, Nev Hasan said he was delighted to welcome Sumpter back to the fold.

“With years of experience, Ben’s the ideal candidate to grow our Melbourne market with a new client base as we continue breaking new ground in the Australian streaming industry. The media industry and our advertising partners are shifting to a new norm, and having someone like Ben, with deep experience and established
relationships, will help Foxtel Media speak to the market at all levels. We’re excited to build on our traction in Melbourne with Ben’s leadership.”

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ARN has launched a new TV campaign in Sydney, celebrating WSFM’s transformation into GOLD101.7 and solidifying its place within the unified GOLD network.

Fronted by Jonesy & Amanda, the spot embraces their signature banter while delivering the tagline: “New Look, New Sound, New Faces” – reassuring fans that while the station has a fresh identity, the voices they love aren’t going anywhere.

Lauren Joyce, ARN’s Chief Audience and content officer said the campaign reflects the evolution of the station while staying true to its heritage.

“Sydney listeners have loved WSFM for decades, and GOLD101.7 builds on that legacy with a fresh, dynamic energy while keeping the music and personalities they know and trust. This campaign brings the GOLD brand to life, uniting Sydney and Melbourne under a shared passion for great songs and real connection.”

The rebrand from WSFM to GOLD101.7, announced by ARN in late 2024, aims to attract a younger 25-54 audience while keeping its loyal listeners engaged. The commercial is part of a wider marketing strategy designed to cement GOLD101.7’s presence in Sydney, ensuring a smooth transition for existing fans while bringing in fresh ears.

Meanwhile, in Melbourne, GOLD104.3 has launched its own campaign, reinforcing its brand as the home of timeless hits, where great songs never grow old – no matter the era. Using the LESS / MORE creative framework, the campaign delivers bold, playful messaging and eye-catching visuals that tap into cultural and musical references.

As part of GOLD104.3’s latest campaign, Christian O’Connell turned to his audience for creative slogan ideas – and the response was huge. The best submissions are now lighting up digital billboards across Melbourne, making listeners a key part of the station’s marketing.

With clever taglines like “Less Stress, More INXS” and “Less Traffic Jam, More Pearl Jam,” the campaign reinforces GOLD104.3’s signature promise: JUST GREAT SONGS, giving fans even more reason to tune in all day long.

Jonesy & Amanda can be heard on GOLD101.7 and Christian O’Connell on GOLD104.3, both from 6 – 9am or via the free iHeart app.

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Jacki Weaver will take a deep dive into a forgotten vault of 1970s films in the new SBS documentary series Australia: An Unofficial History, premiering Wednesday the 5th of March at 7.30 pm on SBS and SBS On Demand.

Joined by an all-star panel, including Phillip Noyce AO, Benjamin Law, Jan Fran, Zoë Coombs Marr, Leila Gurruwiwi, Rachael Maza, and Dr Gary Foley, Weaver revisits films that pushed boundaries, tackled taboo topics, and amplified marginalised voices.

Unearthed from the National Film and Sound Archive, this three-part series showcases rare, never-before-seen productions that exposed post-natal depression, Australia’s hidden Valium epidemic, and the early days of LGBTI activism – as well as hilariously awkward tourism reels selling a vision of Australia to the world.

More than just forgotten cinema, these films capture the seismic social shifts of the era – from the end of White Australia to the rise of multiculturalism, Indigenous rights, feminism, and the gay liberation movement.

Drawing from the archives of Film Australia, which aimed to craft an ‘official portrait’ of the nation, Australia: An Unofficial History instead reveals a raw, unfiltered look at a country in transformation.

SBS commissioning editor for documentaries, Bethan Arwel-Lewis, said: “As SBS celebrates its 50th year, Australia: An Unofficial History comes as a hugely timely exploration of the moments that have shaped our national identity. National treasure Weaver is the perfect guide to take us on a deeply nostalgic journey through the ‘70s.

“Featuring never seen before archival footage that will shock, entertain and move audiences, this extraordinary series challenges what we thought we knew about the ‘70s and embodies SBS’s commitment to uncovering the stories that define our nation.”

Producer and Stranger Than Fiction co-founder Jo-anne McGowan said: “In this series through largely unseen archive, we clearly see what has and has not changed in Australia in the past 50 years. The wins and the losses. It’s a powerful reflection on who we were then, and who we are now.”

Meanwhile, Screen Australia’s head of documentary Richard Huddleston said: “Australia: An Unofficial History opens up a treasure chest of archival gold that the government created to sell ‘brand’ Australia. This rich tapestry is a roller coaster ride; funny and jaw dropping in places but contentious and provocative in others. This cultural crash course in our collective history has all the hallmarks of a Stranger Than Fiction beautifully-crafted documentary.”

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Independent brand creative agency Fuller has named Kate Fuller as managing director, Sydney.

The newly appointed MD will drive the agency’s growth in the Sydney market while contributing to the broader national strategy of the second-generation-led agency founded in Adelaide 30 years ago.

She will continue to work across brand strategy and creative campaigns, guiding Fuller’s team to deliver the outstanding work and client service it is known for on a national scale.

Fuller joined the agency in 2014, working across communications, creative and digital content strategy roles in Adelaide before moving to Sydney in 2022 to lay the foundation for growth into the eastern states as brand communication strategist. She recently managed Fuller’s acquisition of Sydney branding agency BrandMatters in 2023, successfully leading the team, and a suite of valued clients, through the transition.

Her career has also included roles as editor at Hardie Grant Magazines, US correspondent for a business trade publication, science writer and communications officer at the UK’s University of Oxford, and communications and media officer for primary health care research organisation, PHCRIS.

“I joined Fuller a decade ago with a global perspective on media and communications. It’s been an incredible journey collaborating with our national MD and leadership team to grow the business and shape new services tailored to clients’ evolving needs. Expanding our market presence in Sydney feels like the perfect next chapter as we build on the momentum of 2024,” Fuller said.

“While continuing to grow and refine our brand and creative offer remains my top priority, I’m genuinely excited to step into a more external-facing role – connecting with Sydney, sharing our story, and showcasing the brilliant work we do, the talented people behind it, and the values that make us who we are.

“We’re driven by achieving results for our clients, and working in partnership with brands to recognise their competitive advantage, amplify their stories, attain market cut-through, and make a real difference. But there’s also a real warmth that comes from working with Fuller. The moment you step into our offices, you’ll feel listened to, valued and part of the family. We’re excited to welcome more clients into our Sydney home.

“I’m particularly looking forward to growing our partnerships across health, patient advocacy, medical research and the not-for-profit space – sectors I am deeply passionate about – and where impactful storytelling and genuine connection can make a real difference.”

The strengthening of the agency’s Sydney offering follows a successful 2024 that saw the agency work on major national projects including a new global brand for Wine Australia, a national campaign for South Australian Tourism Commission, rebrands for AFL team the Adelaide Crows, Adelaide University and the country’s largest commercial cleaning company, BIC Consolidated.

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WPP and Amazon Music have partnered to launch Louder Than Cancer, an initiative uniting top global artists to harness the power of music in recognition of World Cancer Day.

In collaboration with WPP’s Grey Health, talent marketing agency FIMI Group, and the Amazon Ads Brand Innovation Lab, the campaign builds on The Most Beautiful Sound,” campaign, which captured the sound of cancer cells being destroyed for the first time ever, offering an inspiring symbol of hope and progress in the fight against this disease.

The Most Beautiful Sound campaign captured the sound of cancer cells being destroyed for the first time ever, offering an inspiring symbol of hope and progress in the fight against this disease.

The Louder Than Cancer campaign leverages the power of music to create hope for millions increasingly affected by cancer and raise awareness through a dedicated Amazon Music playlist featuring a diverse lineup of established and emerging artists including Melissa Etheridge, Imagine Dragons, H.E.R., and Blake Shelton.

For every stream of the songs in the playlist, Amazon Music will donate $1 (up to $100,000) to Conquer Cancer®, the ASCO Foundation, through the Amazon Stream It Forward Program, further amplifying the impact of this initiative.

Each track on the playlist is interwoven with powerful personal stories from artists like Melissa Etheridge, Scotty McCreery, H.E.R., Lainey Wilson, The Head and The Heart and the very sound of cancer cells being destroyed – which was first launched in “The Most Beautiful Sound”, a project developed by Grey Health and researchers at Harvard Medical School and Massachusetts General Hospital.

H.E.R. said: “Late last year, my mother was diagnosed with lung cancer. We were very blessed that they caught it early and she got surgery in February to remove part of her lung. She’s been such a warrior, such a fighter. I’m so proud to call her my mom and I’m proud to join the fight against this affliction through ‘Louder Than Cancer’.”

“The campaign is a powerful demonstration of what it means to pair innovation with worthy social causes. We were thrilled to work with Amazon Music, WPP, and musicians around the world to bring hope to so many people impacted by cancer,” said Kate McCagg, director, brand innovation lab, Amazon Ads.

The Amazon Ads Brand Innovation Lab is amplifying the campaign with a custom landing page on Amazon.com, placements across FireTV, and a billboard in Times Square in New York City.

“We are so honored to work with Amazon Music and Amazon Ads on this monumental campaign to take the message of hope and resilience to patients and their caregivers in search of progress in this scourge of a disease,” added Wendy Lund, chief client officer, Health@ WPP.

“By integrating the sound of cancer cells being destroyed into powerful musical tracks, we are offering a tangible symbol of progress and a source of inspiration for those facing this extremely challenging journey.”

Andre Stapleton, global head of artist and label relations and head of music for North America at Amazon Music, said: “We’re incredibly excited to come together with artists from around the globe to support this impactful initiative. Music has the power to connect, inspire, and heal. We believe this campaign and the incredible artists we’ve been fortunate to work with will make a meaningful contribution in the fight against cancer by bringing awareness and fundraising to help find a cure for this terrible disease.”

“Cancer treatment can save lives, but music has a unique power—it reaches the heart in ways medicine alone cannot. It connects to our emotions, bringing comfort, strength, and hope when we need it most,” shared Bruno Rebelo, Executive Creative Director of Grey Health New York. “We’re incredibly proud of this collaborative effort and its potential impact.”

Bruce Flohr, partner at FIMI Group and EVP at Red Light Management, said: “Cancer is a fight that touches nearly everyone.”

“By partnering with the artist community, we believe this campaign will have a global impact raising awareness that music is louder than cancer. This is a chance to make a real difference through the power of music and connect with fans on a deeper level.”

A full list of “Louder Than Cancer” participants can be found below.

Allen Stone
BENEE
Bishop Briggs
Blake Shelton
Chad Lawson
Chris Tomlin
Clubhouse
Corrine Bailey Rae
DASHA
Ella Vos
Em Beihold
The Gaslight Anthem
Girl Talk
The Head and The Heart
H.E.R.
Imagine Dragons
Jason Aldean
Jenna Raine
Josh Groban
Lainey Wilson
Livingston
Mario
MaRynn Taylor
Melissa Etheridge
Mimi Webb
Myles Smith
Nancy Wilson
OAR
Phantogram
Riley Green
Russell Dickerson
Ruth B.
Scotty McCreery
Switchfoot
Tasha Cobbs Leonard
Tigirlily Gold
Walk Off the Earth
Walker Hayes

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MiQ has appointed Erin Koedam as its new NSW group account director.

Koedam brings almost 12 years of media and commercial experience to the global programmatic media partner, which specialises in ad-tech, digital out-of-home and programmatic.

In the role, she will leverage her extensive programmatic experience to develop new client relationships while also leading the NSW sales team and operations. She will report to MiQ ANZ commercial director Stuart Parker.

Koedam joins MiQ from full-stack programmatic digital out-of-home platform Hivestack by Perion, where she was the vice president of sales, responsible for driving the uptake of programmatic digital out-of-home trading in the Australian market. As a passionate advocate for the out-of-home sector, she established a track record for securing key partnerships across supply, demand, brand advertisers and agencies, delivering significant year-on-year growth.

Prior to this, Koedam spent nearly eight years at JCDecaux, starting her career as an account manager before becoming Groug sales manager in 2019, leading sales and partnerships for its out-of-home client partners.

Parker, said: “The group account director role for NSW is a crucial one for us. After a lengthy search, we are delighted to have secured such high calibre talent as Erin to join the team.

“Erin comes highly regarded by the industry, both from agencies and partners alike, and with our 2025 growth plans in place, Erin will be in the perfect position to capitalise on her already-expansive programmatic knowledge,” he added.

Koedam said of her new role: “MiQ has an incredible product offering, which is constantly evolving, with data and outcomes at the forefront. I’m excited to build on the current momentum of the NSW team and to achieve further success by delivering brilliant work with our partners.”

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Top image: Erin Koedam

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Winarch Group has acquired Wats On Events, bolstering its festival bar management, licensing, pop-up bar, and brand activation capabilities as it looks to scale operations across Australia.

The acquisition sees all full-time staff, including general manager B Morgan, move over to Winarch, with founder Michael Watson staying on to ensure a smooth transition. Originally launched in 2009 as Wats On Tap, the company has evolved into a leading festival and event bar operations provider, working with global brands, agencies, and venues.

Now housed under Winarch Live, Winarch’s newly launched event and venue services division, Wats On Events joins Cedar Mill Events, Secure Events and Assets (SEAA), The Olive Tree Market, and The Finders Keepers Markets.

With Ewen Craig leading Winarch Live, the division has big expansion plans, including moving into the Melbourne market and securing major food and beverage contracts over the next 18 months. Integration with other Winarch businesses, including The Finders Keepers, is also on the horizon.

Wats On Events founder, Watson, said: “Almost 16 years ago I sold my boat to fund the inception of this business, and I can’t believe how far it’s come. What began as a dry hire bar rental business, has grown and evolved into the well respected and thriving business it is today, and is something I am extremely proud of. I have been fortunate to have been involved in some extraordinary events and activations while leading Wats On Events.

“As a solo founder, who has been very hands-on and close to my amazing team, I’m chuffed Winarch Group acquired Wats On Events. Their team has similar values and I’m confident they’ll continue to look after the company’s staff and the legacy of the business. We’ve built something truly unique and special, and I can’t wait to see how Winarch Group scales the company across the country.”

Winarch Group Founder and Director, Paul Lambess, said: “At Winarch Group, we’re driven by a vision to reshape the live entertainment and tourism landscape through strategic investments and ambitious partnerships. Every acquisition we make adds to the human experience, and strengthens our ability to deliver world-class venues, live music events, and lasting experiences that support and help local and regional economies to thrive.

“Wats On Events is a natural extension of that vision. It has carved out a unique position in the market, building a loyal following of customers and clients who genuinely love what it delivers. Michael and the team have built an impressive company that is in demand, respected and ready for growth. Integrating Wats On Events into Winarch Live is an exciting next step – one that allows us to scale the business, reach new markets and further strengthen our event capabilities across our existing portfolio. This is exactly the kind of business we look for, one with strong foundations, a great team and the potential to grow even bigger.”

Winarch Group’s acquisition of Wats On Events, now part of the Winarch Live division, marks a strategic expansion for the business.

With a growing portfolio spanning world-class venues, music businesses, markets, and event services, including the upcoming Cedar Mill Events precinct in Lake Macquarie, Winarch continues to cement itself as a leader in live entertainment, tourism, and events.

Bringing Wats On Events’ food and beverage expertise into the fold strengthens Winarch’s ability to deliver seamless venue and event experiences, pushing its offering to the next level.

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