In an era of celebrity saturation and a persistent divide between the haves and have-nots, the public fascination and criticism of Meghan Markle and Prince Harry continues unabated. Their latest venture, the Netflix lifestyle show With Love, Meghan, has again thrust the Duke and Duchess of Sussex into the spotlight. While the series promises a blend of cooking, crafting, and celebrity guest appearances, its reception has been anything but universally warm.

A polarising brand in a fractured economy

The timing of With Love, Meghan is particularly fraught. With inflation and rising living costs dominating headlines across the globe, critics have labelled the show “tone-deaf.” Royal expert Hugo Vickers recently told The Sun, “The sort of food she’s producing is not going to appeal to a lot of people who can’t afford to buy that sort of thing.” This critique raises a broader concern: can Meghan and Harry truly connect with audiences beyond their affluent bubble?

In the United States, where the Sussexes have cultivated their new lives, economic pressures are biting hard. A recent poll revealed that a majority of Americans feel worse off than they did four years ago. Against this backdrop, a show featuring elevated recipes and curated moments of joy may unintentionally fan the fire between Meghan and her viewers.

The Netflix deal: A double-edged sword

The couple’s $100 million deal with Netflix, signed in 2020, shows their ambition to build a media empire. Yet the very platform they hoped would cement their new identities has also amplified public scepticism. Thus far, their projects, including the docuseries Harry & Meghan, have been characterised by high visibility but mixed reception. The couple’s insistence on being seen as “normal” jars with the opulence and exclusivity that their lifestyle, and by extension, their content, inevitably conveys.

It’s worth noting that their contract with Netflix covers both scripted and unscripted content, children’s programming, and documentaries. However, the success of this multi-year partnership depends not only on ratings but also on public perception. A string of projects perceived as out of touch could erode their brand value, even among their core supporters.

A missed opportunity?

With Love, Meghan could have been a chance to bridge divides. Meghan’s framing of the show as a pursuit of joy and connection is admirable, but it risks coming across as unrelatable to the very audiences it seeks to charm. One might wonder if a more grounded format, like Conan O’Brien’s podcast, which connects with everyday people, could have better demonstrated Meghan’s often-touted empathy and relatability.

Instead, the glossy, curated aesthetic of the trailer reinforces the perception that the Sussexes are out of step with the struggles of ordinary people. Meghan McCain summarised this sentiment on social media: “Americans can’t pay for groceries… and Meghan Markle is hosting lifestyle shows.”

The broader brand implications

The success of With Love, Meghan will inevitably impact the Sussexes’ broader brand. As public figures, their image is their currency. Meghan and Harry have sought to pivot from royal life to a more modern, cause-driven celebrity model. Yet their struggles to shake off accusations of hypocrisy, such as using private jets while advocating for environmental causes, remain a thorn in their side.

What’s at stake is not just the success of their Netflix deal but their ability to maintain relevance and authenticity. If they wish to be seen as champions of causes or relatable figures, their future projects may require a recalibration of tone and substance.

So, where do they go from here?

The Sussexes’ foray into media production is still in its early stages. They have the resources and platform to create meaningful, impactful content. But as With Love, Meghan demonstrates, public perception is a fickle beast. For Meghan and Harry, the challenge lies in striking the delicate balance between leveraging their celebrity and truly connecting with audiences, a feat that remains tantalisingly just out of reach.

If the couple can learn from these early missteps, they may yet redefine their legacy beyond the walls of Buckingham Palace. Until then, their Netflix deal will remain both a huge opportunity and a lightning rod for criticism.

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Volvo has awarded its media account to IPG’s Initiative after 25 years with incumbent WPP’s Mindshare.

The account spans key markets, including the U.S., U.K., Germany, Sweden, Japan, Australia, and Korea. Work will begin in 2025 after a brief transition period, as reported by Ad Week.

A Volvo spokesperson told the publication: “We regularly evaluate our agency model and operations to ensure we are equipped with the right technologies, agility, and efficiency.”

“We have appointed Initiative, powered by IPG, to lead our media strategy, planning and buying, in all regions with the exception of China. Together, we will build on the strong foundation of our brand, delivering a seamless, premium and integrated experience for our consumers worldwide.”

Mediaweek has reached out to Initiative Australia and Volvo for further comment.

The Swedish car manufacturer’s media spend is approximately $500 million, according to COMvergence.

News of Initiative winning Volvo’s global media account comes after Omnicom acquired Interpublic Group in December.

The board of directors for the holding companies unanimously approved a definitive agreement pursuant to which Omnicom will acquire Interpublic in a stock-for-stock transaction.

The acquisition of Interpublic will make the combined holding companies the industry’s deepest bench of marketing talent, and the broadest and most innovative services and products.

Agencies under Interpublic include Initiative, Kinesso, Magna, McCann, Mediahub, R/GA and UM. These add to Omnicom’s current stable of Hearts & Science, OMD, PHD, BBDO, TBWA and Flywheel.

The new Omnicom will have over 100,000 expert practitioners. The company will deliver end-to-end services across media, precision marketing, CRM, data, digital commerce, advertising, healthcare, public relations and branding.

At the time, Mediaweek spoke with industry figures to get their thoughts and opinions on the acquisition, the global and local impact, and what it means for the future of the media and marketing industry.

Media industry veteran Mat Baxter told Mediaweek that at a global level, it was a “complementary acquisition”, while from a geographical and historical perspective, it plugged IPG’s market and geographical weaknesses

“It’s a potent combination to be bringing those two networks together. In terms of creating geographical global dominance in all critical marketplaces, the two combined are a powerful force.”

Darren Woolley, CEO of TrinityP3, said: “Let’s call this for what it is – a takeover. The Omnicom IPG Group ‘merger’ is continuing evidence that the major holding companies are pursuing a strategy of scale and efficiency in the face of multiple business and economic challenges.”

“The deal will make 2025 very interesting. Let’s remember that OMG and Publicis tried a ‘merger of equals’ in 2013 before cultural and client conflicts scuppered the deal. This is a takeover that will provide the opportunity to rationalise the underperforming media agency brands.

Julia Vargiu, director Australia, SI Partners, added: “The reality is, there are too many agencies chasing a finite pool of clients, and we can expect more mergers across different sectors as businesses streamline their offerings.”

See also: Omnicom acquires Interpublic Group: ‘Now is the perfect time’

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The 2025 Golden Globes delivered a night to remember, celebrating the best in film and television with a mix of victories and heartfelt speeches. From The Brutalist clinching Best Drama to Emilia Pérez shining in both film and non-English categories and Shōgun leading the TV pack, this year’s awards showcased an impressive range of talent and storytelling.

Comedian Nikki Glaser hosted the event, making history as the first woman to solo host the Golden Globes.

List of the 2025 Golden Globe winners

Film nominations and winners

Best Motion Picture – Drama

The Brutalist — WINNER
A Complete Unknown
Conclave
Dune: Part Two
Nickel Boys
September 5

Best Motion Picture – Musical or Comedy

Anora
Challengers
Emilia Pérez — WINNER
A Real Pain
The Substance
Wicked 

Best Motion Picture – Animated 

Flow — WINNER
Inside Out 2
Memoir of a Snail
Moana 2
Wallace & Gromit: Vengeance Most Fowl
The Wild Robot

Cinematic and Box Office Achievement 

Alien: Romulus
Beetlejuice Beetlejuice
Deadpool & Wolverine
Gladiator II
Inside Out 2
Twisters
Wicked — WINNER
The Wild Robot

Wicked

Best Motion Picture – Non-English Language

All We Imagine as Light (India)
Emilia Pérez (France) — WINNER
The Girl with the Needle (Denmark)
I’m Still Here (Brazil)
The Seed of the Sacred Fig (Germany)
Vermiglio (Italy)

Best Performance by a Female Actor in a Motion Picture – Drama

Pamela Anderson – The Last Showgirl
Angelina Jolie – Maria
Nicole Kidman – Babygirl
Tilda Swinton – The Room Next Door
Fernanda Torres – I’m Still Here — WINNER
Kate Winslet – Lee

Best Performance by a Male Actor in a Motion Picture – Drama 

Adrien Brody – The Brutalist — WINNER
Timothée Chalamet – A Complete Unknown
Daniel Craig – Queer
Colman Domingo – Sing Sing
Ralph Fiennes – Conclave
Sebastian Stan – The Apprentice

Best Performance by a Female Actor in a Motion Picture – Musical or Comedy

Amy Adams – Nightbitch
Cynthia Erivo – Wicked
Karla Sofía Gascón – Emilia Pérez
Mikey Madison – Anora
Demi Moore – The Substance — WINNER
Zendaya – Challengers

In her acceptance speech, Moore reminisced about being labeled “a popcorn actress” by a producer 30 years ago. Reflecting on her journey, she shared, “When The Substance came, the universe told me, ‘You’re not done.'”

Best Performance by a Male Actor in a Motion Picture – Musical or Comedy

Jesse Eisenberg – A Real Pain
Hugh Grant – Heretic
Gabriel LaBelle – Saturday Night
Jesse Plemons – Kinds of Kindness
Glen Powell – Hit Man
Sebastian Stan – A Different Man — WINNER

Best Performance by a Female Actor in a Supporting Role

Selena Gomez – Emilia Pérez
Ariana Grande – Wicked
Felicity Jones – The Brutalist
Margaret Qualley – The Substance
Isabella Rossellini – Conclave
Zoe Saldaña – Emilia Pérez — WINNER

Best Performance by a Male Actor in a Supporting Role

Yura Borisov – Anora
Kieran Culkin – A Real Pain — WINNER
Edward Norton – A Complete Unknown
Guy Pearce – The Brutalist
Jeremy Strong – The Apprentice
Denzel Washington – Gladiator II

Best Director 

Jacques Audiard – Emilia Pérez
Sean Baker – Anora
Edward Berger – Conclave
Brady Corbet – The Brutalist — WINNER
Coralie Fargeat – The Substance
Payal Kapadia – All We Imagine as Light

Best Screenplay 

Emilia Pérez
Anora
The Brutalist
A Real Pain
The Substance
Conclave — WINNER

Best Original Score

Conclave
The Brutalist
The Wild Robot
Emilia Pérez
Challengers — WINNER
Dune: Part Two

Best Original Song

“Beautiful That Way,” Music & Lyrics By: Andrew Wyatt, Miley Cyrus, Lykke Zachrisson – The Last Showgirl
“Compress / Repress,” Music & Lyrics By: Trent Reznor, Atticus Ross, Luca Guadagnino – Challengers
“El Mal,” Music & Lyrics By: Clément Ducol, Camille, Jacques Audiard – Emilia Pérez — WINNER
“Forbidden Road,” Music & Lyrics By: Robbie Williams, Freddy Wexler, Sacha Skarbek – Better Man
“Kiss The Sky,” Music & Lyrics By: Delacey, Jordan K. Johnson, Stefan Johnson, Maren Morris, Michael Pollack, Ali Tamposi – The Wild Robot
“Mi Camino,” Music & Lyrics By: Clément Ducol, Camille – Emilia Pérez

Shōgun wins Best Drama Series Golden Globe

TV nominations and winners

Best Television Series – Drama

The Day of the Jackal
The Diplomat
Mr. and Mrs. Smith
Shōgun — WINNER
Slow Horses
Squid Game

Best Television Series – Musical or Comedy 

Abbott Elementary
The Bear
The Gentlemen
Hacks — WINNER
Nobody Wants This
Only Murders in the Building

Best Television Limited Series, Anthology Series or Motion Picture Made for Television

Baby Reindeer — WINNER
Disclaimer
Monsters: The Lyle and Erik Menendez Story
The Penguin
Ripley
True Detective: Night Country

“The way you guys have embraced this show is unbelievable. It means the absolute world to me, to us,” Richard Gadd said. “We’re so grateful to Netflix, by the way, for this story. For giving me the chance to tell this messed up kind of story to the world.”

Best Performance by a Female Actor in a Television Series – Drama

Kathy Bates – Matlock
Emma D’Arcy – House of the Dragon
Maya Erskine – Mr. and Mrs. Smith
Keira Knightley – Black Doves
Keri Russell – The Diplomat
Anna Sawai – Shōgun — WINNER

Best Performance by a Male Actor in a Television Series – Drama

Donald Glover – Mr. and Mrs. Smith
Jake Gyllenhaal – Presumed Innocent
Gary Oldman – Slow Horses
Eddie Redmayne – The Day of the Jackal
Hiroyuki Sanada – Shōgun — WINNER
Billy Bob Thornton – Landman

Best Performance by a Female Actor in a Television Series – Musical or Comedy

Kristen Bell – Nobody Wants This
Quinta Brunson – Abbott Elementary
Ayo Edebiri – The Bear
Selena Gomez – Only Murders in the Building
Kathryn Hahn – Agatha All Along
Jean Smart – Hacks — WINNER

Best Performance by a Male Actor in a Television Series – Musical or Comedy

Adam Brody – Nobody Wants This
Ted Danson – A Man on the Inside
Steve Martin – Only Murders in the Building
Jason Segel – Shrinking
Martin Short – Only Murders in the Building
Jeremy Allen White – The Bear — WINNER

Best Performance by a Female Actor in a Limited Series, Anthology Series or a Motion Picture Made for Television

Cate Blanchett – Disclaimer
Jodie Foster – True Detective: Night Country — WINNER
Cristin Milioti – The Penguin
Sofía Vergara – Griselda
Naomi Watts – Feud: Capote vs. the Swans
Kate Winslet – The Regime

Best Performance by a Male Actor in a Limited Series, Anthology Series or a Motion Picture Made for Television 

Colin Farrell – The Penguin — WINNER
Richard Gadd – Baby Reindeer
Kevin Kline – Disclaimer
Cooper Koch – Monsters: The Lyle and Erik Menendez Story
Ewan Mcgregor – A Gentleman in Moscow
Andrew Scott – Ripley

Best Performance by a Female Actor in a Supporting Role

Liza Colón-Zayas – The Bear
Hannah Einbinder – Hacks
Dakota Fanning – Ripley
Jessica Gunning – Baby Reindeer — WINNER
Allison Janney – The Diplomat
Kali Reis – True Detective: Night Country

Best Performance by a Male Actor in a Supporting Role

Tadanobu Asano – Shōgun — WINNER
Javier Bardem – Monsters: The Lyle and Erik Menendez Story
Harrison Ford – Shrinking
Jack Lowden – Slow Horses
Diego Luna – La Máquina
Ebon Moss-Bachrach – The Bear

Best Performance in Stand-Up Comedy on Television

Jamie Foxx – Jamie Foxx: What Had Happened Was
Nikki Glaser – Nikki Glaser: Someday You’ll Die
Seth Meyers – Seth Meyers: Dad Man Walking
Adam Sandler – Adam Sandler: Love You
Ali Wong – Ali Wong: Single Lady — WINNER
Ramy Youssef – Ramy Youssef: More Feelings

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The Australia v India Border-Gavaskar Trophy Test Series has firmly cemented itself as the pinnacle of Australian summer sports, reaching an astounding 13.4 million viewers across the Seven Network and 7plus Sport. The five-match series captivated cricket enthusiasts and smashed viewing records, showcasing cricket’s position as the nation’s summer favourite.

Record-breaking reach and engagement

Averaging just over 1 million viewers per Test, the series saw a 39% increase in audience compared to the 2023-24 summer. As the first men’s international cricket series available for free streaming in Australia, the matches attracted 1.29 million unique viewers exclusively on 7plus Sport, delivering 120,000 new registered users to the platform.

The series culminated in a dramatic Fifth Test at the Sydney Cricket Ground, which alone reached 6.6 million viewers, including 1 million via 7plus Sport. This final showdown secured Australia’s first Border-Gavaskar Trophy victory in a decade, with an average total TV audience of 1.4 million, making it the most-watched program across key demographics for three consecutive days.

Key highlights from the fifth Test

The final Test set new benchmarks, with the second session on Day 3 drawing a national audience of 1.76 million—the highest ever for a Test session on Seven. Other sessions included:

• Day 2, Session 3: 1.66 million viewers
• Day 1, Session 3: 1.47 million viewers
• Day 2, Session 2: 1.43 million viewers
• Day 3, Session 1: 1.43 million viewers

7plus Sport recorded a 230% surge in audience compared to the same period last year, further amplifying the series’ widespread appeal.

Commentary team and multilingual coverage

Seven’s coverage was bolstered by an exceptional commentary lineup, featuring cricket legends Ricky Ponting, Justin Langer, Sunil Gavaskar, and Matthew Hayden, alongside hosts James Brayshaw and Mel McLaughlin. For the first time, 7plus Sport introduced a secondary Hindi commentary feed, catering to diverse cricket fans across Australia.

Big Bash League and Women’s Ashes on the horizon

Building on the success of the Test series, Seven’s summer of cricket continues with the Big Bash League, which has already seen a 15% viewership increase this season. Attention now turns to the Australia v England Women’s Ashes Series, kicking off on 12 January at North Sydney Oval. The series will feature a mix of ODI, T20I, and a four-day pink-ball Test at the Melbourne Cricket Ground, marking the 90th anniversary of women’s Test cricket.

What the experts say

Chris Jones, Seven Network director of sport, lauded the series as the most compelling since Seven acquired the broadcast rights. “Congratulations to both teams for captivating the country and setting new records. Seven’s Test coverage has matched the incredible on-field action.”

Joel Starcevic, Seven Network head of cricket, echoed this sentiment, highlighting the series’ edge-of-the-seat moments, including Virat Kohli’s century and Scott Boland’s heroics. “The people have spoken. Cricket is Australia’s number one summer sport, and we’re thrilled to bring more world-class action with the BBL and Women’s Ashes.”

By the numbers: Border-Gavaskar Trophy

• National reach: 13.4 million
• Average total TV audience: 1.003 million
• 7plus Sport reach: 2.45 million

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Campaigning for the 2025 Federal Election appears to have begun as Prime Minister Anthony Albanese tours Queensland, the Northern Territory and Western Australia.

In a bid to win votes ahead of the election, Albanese has announced the $7.2 billion upgrade of the Bruce Highway, which connects Queensland’s major cities such as Rockhampton and Cairns.

The highway is also notorious for being one of Australia’s most dangerous highways; last year’s death toll was 41, up from an average of 29.5 deaths in past years, according to 7News.

Labor is leading its campaign under the slogan ‘Building Australia’s Future’, which he has pitched as a “choice between building Australia’s future or taking Australia backwards.”

“My government cares about Australians,” he said, as reported by The Daily Telegraph. “That’s why we are delivering cost of living relief while strengthening Medicare and investing in infrastructure, childcare and dignified aged care.

“Over the next three years, we can work together to build on the foundations we have laid,” Albanese added.

The Federal Election is expected to be no later than 17 May, according to the ABC.

The Labor Party won the 2022 federal election, and creative advertising agency Campaign Edge, led by executive creative director Dee Madigan, was an integral part of that campaign.

At the time, the agency said it worked with the campaign director and researchers to develop the paid media advertising strategy.

“This included working out what were the most persuasive arguments against a Morrison-led coalition government and the most persuasive arguments for an Albanese-led Labor government, and then developing the most engaging ways to present those arguments as advertising, both nationally and by target seat.”

Campaign Edge produced over 500 pieces of advertising – from TVCs (BVOD and broadcast) to billboards to radio, and of course, highly targeted digital content, which resulted in the first majority Federal Labor government in 15 years.

–

Top image: Anthony Albanese

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The Content Works has joined The L’Oréal Groupe Agency Village, overseeing its social media strategy and management account.

The partnership builds on the social media and creative agency’s existing four-year relationship with L’Oréal Corporate to now working with L’Oréal Groupe’s portfolio of 32 brands, including L’Oréal Paris, Garnier, Maybelline, NYX, Kiehl’s, La Roche-Posay and Lancôme.

The tech billionaire, known for his outspoken nature, took aim at the Nine-owned publication following an opinion piece predicting a dramatic shift in his career by 2025.

This is a big reason why I stay on 𝕏

I will continue to support Elon Musk and Tesla with my writing and videos, as the legacy press sadly spreads lies and hate 24/7 https://t.co/Bn2IJgFPK1

— Gail Alfar (@GailAlfarATX) December 29, 2024

The article, penned by SMH technology editor David Swan, speculated that Musk would step back from his Tesla leadership to join Donald Trump’s incoming administration. Swan suggested that Musk and former presidential candidate Vivek Ramaswamy would head a newly created Department of Government Efficiency (DOGE), tasked with trimming billions from government spending.

“To juggle X (formerly Twitter), Tesla, SpaceX, xAI, The Boring Company, and Neuralink is already unsustainable,” Swan wrote. “Now, with Musk entrenched in Trump’s circle, something has to give.”

The piece went on to claim that Musk’s alleged political ambitions and frequent controversies would force him to relinquish control of Tesla—a company Swan reminded readers Musk “did not actually found.”

Musk’s swift response

It didn’t take long for Musk to respond. Writing to his 209 million followers on his social media platform, X, Musk delivered his own 2025 prediction: “I predict that The Sydney Morning Herald will continue to lose readership in 2025 for relentlessly lying to their audience and boring them to death.”

Musk’s comments, unsurprisingly, ignited a wave of support from his online following. Many rallied to his defense, calling out traditional media as “propaganda” and accusing the SMH of sensationalism. Some pointed to Nine Entertainment’s declining stock price, with Musk amplifying the sentiment by agreeing that “legacy media is in a doom spiral.”

Swan’s response: “Damn, roasted”

Swan seemed unperturbed by the billionaire’s critique. Taking to X, he shared Musk’s comment with a simple response: “Damn, roasted.”

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From 1 July, 2025, junk food advertising will be banned across Adelaide’s buses, trains, and trams as part of a bold South Australian government initiative to combat rising obesity rates. The policy, a first of its kind in Australia, will outlaw promotions for unhealthy products like soft drinks, confectionery, and chips on public transport.

Health Minister Chris Picton said the policy aims to reduce children’s exposure to unhealthy food advertising, which data shows makes up nearly 80% of food and drink ads on South Australian buses.

“Big brands spend millions on catchy slogans and appealing ads to encourage children to consume highly processed foods. Banning these ads in places frequently seen by children is a sensible step towards a healthier South Australia,” Picton said.

The policy, developed through public consultation and aligned with the National Obesity Strategy 2022-2032, draws on successful examples from London, Amsterdam, and the ACT. Marina Bowshall, CEO of Preventive Health SA, emphasized the importance of reducing exposure to unhealthy food marketing, saying, “This is a key priority in tackling one of the nation’s most pressing public health challenges.”

Christine Morris, Prevention and Advocacy manager at Cancer Council SA, said: “We know that minimising unhealthy food and drink advertising can lead to better health outcomes for everyone. Our research shows that forming the foundations of positive nutrition preferences in children is a big step in overall cancer prevention.”

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Michael Carrington, the executive who championed the global children’s phenomenon Bluey, has announced his retirement. He has had a remarkable career spanning over thirty years and is known as one of the most knowledgeable leaders in the industry. His influence reshaped children’s programming in Australia and internationally.

The news comes after BBC Studios and The Walt Disney Company announced the first-ever animated feature film for Bluey, the Emmy and BAFTA Award-winning animated series.

From Australia to the world

Carrington’s career began in the early 1990s at Australia’s Network Ten. In 1993, he joined CBBC in the UK as a producer, where his talent for connecting with young audiences quickly propelled him into leadership roles. By the late 1990s, Carrington was spearheading innovation as the head of Lego’s TV and New Media department.

Returning to the BBC in 2004, he took on an acquisitions role before becoming the first creative director and controller of CBeebies in 2007. During his tenure, he commissioned beloved preschool staples such as In the Night Garden and Charlie & Lola.

Global adventures and popular creations

In 2010, Carrington joined Turner as chief content officer for Cartoon Network EMEA. There, he executive produced shows like The Amazing World of Gumball and founded Cartoon Network Studios Arabia, expanding the network’s creative footprint.

His next move brought him to Hit Entertainment, the home of Thomas & Friends, before taking on the role of CEO at Zodiak Kids Studios, now part of Banijay.

The Bluey legacy

Carrington’s defining moment came when he returned to Australia in 2016 to lead the ABC’s Children’s and Education department. At an industry pitch, he spotted potential in an early-stage pilot about a lovable family of blue heeler dogs. With his support, Bluey received development funding and a full season commission, setting the stage for its meteoric rise.

The series, co-produced with BBC Studios and later acquired by Disney+ internationally, became a cultural phenomenon. In the U.S., it has spent over two years on Nielsen’s most-streamed charts, cementing its status as a global juggernaut.

A broadcaster’s legacy

Promoted to head of programming at the ABC, Carrington expanded his leadership to oversee all TV channels and ABC iView. Under his guidance, the pubcaster commissioned hit shows like The Newsreader and navigated the early challenges of the Covid-19 pandemic.

Carrington left the ABC in 2023 to establish his own independent production company, which has now closed as he steps into retirement.

Reflecting on his career, Carrington shared his gratitude on LinkedIn:

“The world of television has given me more than I could have ever imagined. I’ve had the privilege to work with incredibly talented people and help create content that has brought joy, education, and wonder to countless families. As I step away, I’m filled with pride knowing that the values of creativity, diversity, and inclusion that have guided me will continue to inspire the next generation of storytellers.”

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Adelaide Crows great Rory Sloane is swapping his guernsey for the commentator’s mic, joining Nine’s AFL programming team ahead of the 2025 season. The former Crows captain, revered for his leadership both on and off the field, will bring his expertise and charisma to Nine’s flagship sports shows and platforms.

After retiring at the end of the 2024 AFL season with 255 games to his name, Sloane transitions from player to pundit, entering a diverse media role within Australia’s largest media network. His responsibilities will span The AFL Sunday Footy Show, Footy Classified, 9News Adelaide, and even radio commentary with 3AW football.

“It’s a great opportunity, and I’m incredibly excited to join the team,” Sloane said. “Growing up, my Sundays were centred around the Wide World of Sports, so to now be a part of that legacy is a dream come true. I’m keen to share my insights and bring a fresh perspective to AFL analysis.”

Sloane’s transition to media comes as no surprise to fans who’ve long admired his articulate and insightful approach to the game. During his career, Sloane was not only a two-time Adelaide Crows Best and Fairest winner and a 2016 All-Australian but also a cerebral leader known for dissecting tactics and identifying trends.

“I want to share some of the strategies I’ve used in analysing games and coaching the midfield,” Sloane said. “I hope to give viewers new angles on footy that they may not have seen before. And if I can bring the average age of The Footy Show down a little, that’s a bonus!”

A welcome addition to Nine’s AFL commentary team

Nine’s Director of Sport, Brent Williams, is confident Sloane’s on-field experience and engaging personality will enhance the network’s already strong AFL coverage.

“As a player, Rory led by example, earning respect across the AFL,” Williams said. “His courage and leadership resonated with fans, regardless of their allegiance. We’re thrilled to welcome him into the Wide World of Sports family and can’t wait to see the impact he’ll make across all our platforms.”

9News Adelaide’s director, Jeremy Pudney, echoed this sentiment, highlighting Sloane’s deep understanding of the game. “Rory was a champion for the Crows, and his insight into footy is second to none. We’re excited for him to share that expertise with our audience,” he said.

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Orange Line has appointed Brian Collins as head of growth to oversee the global expansion of its innovative product offerings, with a strong focus on scaling in the United States.

Collins brings 14 years of experience in digital strategy and growth marketing to the role, excelling in securing global accounts, scaling teams and driving revenue.

His role will focus on identifying growth opportunities, building new business and enhancing Orange Line’s presence across international markets. Collins will report to general manager Aishling Farrell

Collins said of his new role at the agency: “I’m thrilled to join Orange Line at such a pivotal moment in its journey. I was blown away by the agency’s exceptional product suite, and their proven execution capabilities set the agency apart in the digital marketing space.

“I’m excited to strengthen our leadership in the Australian market while establishing a robust footprint in the U.S,” he added.

Prior to moving to Australia, Collins was head of UK digital for Ogilvy in London where he worked with brands including Mattel (across EMEA), Vodafone, Nokia, Bacardi and British Airways. He previously held other senior leadership roles at ContentCal (acquired by Adobe) and Strong Roots (acquired by McCains). Since moving to Australia, Collins has worked on iconic brands like Oroton, Eckersley’s Arts & Crafts, and Charter Hall.

David Klein, co-founder of Orange Line, said: “We are delighted to have Brian on board. His extensive experience in scaling businesses and passion for innovative growth strategies aligns perfectly with our vision. Brian will play a critical role in enhancing our capabilities and accelerating our expansion into new markets.”

Collins appointment comes as Orange Line builds on its recent successes, including major client wins such as Abano Healthcare, Fantastic Furniture and Skyscanner.

Orange Line specialises in delivering transformative growth solutions, across paid media, SEO, CRO, design, data analytics and communications. The new hire reinforces the agency’s commitment to investing in top-tier talent to fuel its ambitious growth trajectory and deliver exceptional outcomes for its clients.

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Intrepid Travel has appointed creative communications agency alt/shift/ as its public relations partner for Australia and New Zealand.

The adventure tour operator has built on strong momentum as a purpose-driven brand to continue creating positive change through the joy of small group travel.

Bringing creative storytelling expertise to elevate Intrepid’s small group adventure offering, this appointment bolsters alt/shift/’s growing portfolio of leading travel and tourism brands, including Camplify and Air New Zealand.

As the travel industry undergoes significant transformation, grappling with over-tourism and increasing demand for responsible travel, Intrepid is poised to lead the way with alt/shift/ guiding its communications strategy.

“Intrepid is proud to be a force for good in travel. Partnering with alt/shift/ will allow us to share our commitment to responsible tourism and connect with audiences in Australia and New Zealand in meaningful ways,” Jo Crisp, head of PR and communications, APAC, said.

“With ambitious plans to grow our customer base to 250,000 in the ANZ market by 2030, and expand into accommodation and publishing, alt/shift/’s award-winning approach makes them the perfect partner for Intrepid’s next chapter.”

National CEO alt/shift, Elly Hewitt, said: “Intrepid is an icon in the global travel industry, and their commitment to creating positive change aligns seamlessly with our values. We are excited to amplify their small group experiences and sustainability leadership through strategic, creative campaigns that inspire both travellers and media alike.”

This partnership is set to deliver purpose-driven storytelling that highlights the transformative power of travel while addressing the evolving demands of today’s travellers. Intrepid and alt/shift/ will work hand-in-hand to inspire a new wave of sustainable adventure.

This win for the agency comes after the agency announced the appointments of Samantha Razzell (nee Gale) to oversee the team in Victoria as general manager, and Priscilla Jeha to the Queensland office, also as GM.

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Audible has launched its new global campaign through London-based independent creative advertising and digital agency Fold7.

The new campaign is a continuation of the online audiobook and podcast service’s first global brand campaign, ‘There’s more to imagine when you listen,’ which was launched in June 2024.

This extended iteration is focused on driving brand love and listening for Audible’s extensive wellness slate. The campaign aims to connect with audiences through the same creative and linguistic devices, driving discovery and exploration of their wellness category.

It continues to explore the transformative power of audio storytelling and the ways it can spark imagination.

The new campaign emphasises how listening to Audible immerses us all in extraordinary worlds, changing moods, perceptions, and views – while engaging in routine daily activities.

The new film, Zen Commute, brings two worlds together with a film that immerses audiences in the eternal while linking to the every day with a reality check and a touch of humour.

See also: Audible launches first global brand marketing campaign

FILM CREDITS – ‘Zen Commute’

Creative Agency – Fold7
Executive Creative Director Dave Billing
Writer/Creative Director – Lucy Aston
Creative – Dan Burkitt
Creative – Philippa Baines
Senior Producer – Emily Hendrey
Business Director – James May
Senior Account Director – Toby Moore
Account Manager – Issy Webster
Chief Strategy Officer – Yelena Gaufman
Senior Designer – Ben Gibbons
Design Director – Alex Gill
Head of Creative Services – Maggie Roberts

Production Company
Partizan Director – Antoine Bardou-Jacquet
MD & Exec Producer – Jenny Beckett
Head Of Production – Ella More O’Ferrall
Producer – David Stewart
Production Manager – Charlie Scannell
DOP – Christophe Beaucarne
Production Designer – Alexandre Vivet
Art Director (Thailand) – Thor Taweepasas

Service Production Company TA PROD
Service Co Exec Producer – Christophe Guyot
Service Co Producer – Air Charoenrat
Editor – Manuel Coutant

Post Production Electric Theatre Collective
Head of CG, VFX Supervisor – Ed Shires
Head of 2D, VFX Supervisor – Iain Murray
Colourist – Luke Morrison
Exec Producer – Antonia Vlasto
Senior Producer – Luke Rzewnicki
Sound Studio – 750mph
Engineer – Sam Ashwell
Music – Twenty Below Music

KV Creds – ‘Blossom Train’ & ‘Toy Town’
Executive Creative Director – Dave Billing
Creative Director – Lucy Aston
Creative Director – Jess Ardizzone
Senior Creative – David O’Brien
Senior Creative – Chris Bennett
Senior Account Director – Toby Moore
Senior Account Manager – Meg Hugill
Design Director – Alex Gill
Motion Designer – Steve Hill
Creative Artworker – Shnar Songprasert
Lead Motion Designer – Ben Gibbons
Senior Integrated Producer – Emily Henderson
Project Director – Katie Bayley
Senior Project Manager – Laine Barber

Production Company Electric Theatre Collective
Director – Stefano Ottaviano
Executive Producer – Laura Ayesha Northover
Live Action Producer – Nailah Blissett
Executive Post Producer – Madga Krimitsou
Post Producer – Saskia Delius
Lead Motion Graphics Designer – Simone Giorgetta
Junior Motion Graphics Designer – Uti David
DOP – Peter Bishop
VFX Supervisor – Denis Reva
Service Production Company – Grandma Production Services
CG Leads – Edward Shires
2D Artist Lead – Ben Turner
2D Artist – Amy Smith & Rafaila Raykova Vormitagg
CG team – Matilde Vinther & Vaclav Cizkovsky
Colourist – Andi Haw Shuan Chu

KV Music
Echoic – Music/Sound Design Partner
Director – David Johnston
Creative Director – Tom Gilbert
Producer – Sion Williams

Radio credits
Producer Izy Brand

The battle lines are drawn, and the stage is set for one of the most anticipated seasons of Australian Survivor. The showdown between Brains and Brawn is back, promising an explosive tenth season that will test the limits of intellect and strength.

Set against the stunning backdrop of Samoa, Australian Survivor: Brains v Brawn will see 12 of the sharpest minds face off against 12 of the most physically formidable competitors. Each tribe is determined to Outwit, Outplay, and Outlast their rivals in the ultimate quest for the title of Sole Survivor and a life-changing $500,000 prize.

The Brains tribe

Smart, strategic, and always thinking one step ahead, the Brains tribe is ready to outsmart their competition. From PhD students and teachers to A.I. experts, this group is armed with the mental prowess to navigate the twists and turns of the game. Their mantra: work smarter, not harder. After claiming victory in the first Brains v Brawn showdown, they’re eager to defend their title and prove once again that brains triumph over brawn.

The Brawn tribe

Courageous, hardworking, and unrelenting, the Brawn tribe lives by their physical strength. Featuring Olympic sprinters, rescue firefighters, and coaches, they are no strangers to endurance and competition. After falling short in the first matchup, they’re determined to rewrite history and prove that brute strength can outmatch intellectual cunning.

The ultimate test

This season will push contestants to their limits, challenging both their bodies and their minds. From grueling physical battles to psychological warfare, every decision could be the difference between survival and elimination. With alliances forming and breaking at the blink of an eye, the game promises treachery, loyalty, deception, and chaos at every turn.

Who will reign supreme? Can the Brains outmaneuver their competition once more, or will the Brawn prove that strength conquers all?

Catch Australian Survivor: Brains v Brawn—coming soon on 10 and 10 Play.

The battle of mind versus muscle begins in 2025. Are you ready?

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Airing live on Monday, 6 January, for Australian audiences, the Globes promise an entertaining mix of glamour, drama, and surprises. Here’s how you can tune in, what to expect, and where to catch the year’s most talked-about nominees.

When and where to watch the 2025 Golden Globes in Australia

The Golden Globes ceremony will take place in the US on Sunday, 5 January, translating to an Australian broadcast on Monday, 6 January.

Red carpet coverage begins at 10am AEST, and the ceremony kicks off at 11am AEST, running for approximately three hours.

How to watch:

• Live on Channel 10

• Streaming on Paramount+

• Follow live updates via ABC News, which will live-blog the event on its website and app.

What films and shows are leading the pack

This year’s nominations showcase an eclectic mix of cinematic and small-screen achievements. Leading the charge is Jacques Audiard’s surreal musical Emilia Pérez, which secured 10 nominations.

Close behind are:

• The Brutalist with seven nominations

• Conclave with six nominations

• Wicked, starring Ariana Grande and Cynthia Erivo, with three nominations

Emilia Pérez and The Brutalist are shaping up as early frontrunners, with some speculating these films might dominate the Oscars as well.

History in the making: Nikki Glaser hosts the Golden Globes

Comedian Nikki Glaser will host the event, making history as the first woman to solo host the Golden Globes. Known for her razor-sharp wit and relatable humour, Glaser is fresh off a standout performance in Netflix’s The Roast of Tom Brady.

Glaser joins the ranks of past hosts like Sandra Oh, Tina Fey, and Amy Poehler, but she’ll be blazing her own trail as the sole emcee for the night.

Where to watch the nominees in Australia

While some nominated films and TV shows are already accessible, others will debut in Australian cinemas later this month.

In cinemas now:

• A Complete Unknown

• A Real Pain

• Anora

• Wicked

Coming soon to cinemas:

• Conclave on 9 January

• Emilia Pérez on 16 January

• The Brutalist on 23 January

• September 5 on 30 January

Streaming options:

• Binge: Dune: Part Two, The Penguin, True Detective: Night Country

• Disney+: Inside Out 2, Abbott Elementary, Only Murders in the Building

• Netflix: Squid Game, The Diplomat, The Gentleman

• Prime Video: Challengers, Mr. and Mrs. Smith

• Apple TV+: Slow Horses, Shrinking

Keep on top of the most important media, marketing, and agency news each day with the Mediaweek Morning Report – delivered for free every morning to your inbox.