Nine Entertainment has completed its acquisition of QMS Media, bringing the outdoor media company into the group and extending Nine’s advertising offer across streaming, broadcast, publishing and out of home.

The deal gives Nine a stronger cross-platform position in Australia and New Zealand, with QMS to continue operating as a distinct division inside the business.

What the QMS deal means for Nine

For advertisers and agencies, the acquisition adds QMS’ outdoor network to Nine’s existing portfolio, which includes television, publishing and streaming assets. Nine said the combined offer will support a “Sofa to Street” proposition linking audiences across home and outdoor environments.

The transaction also marks a further step in Nine’s broader business transformation, as the company looks to build a more digitally led media operation.

QMS to remain a separate division

From 1 April, QMS’ 300 staff across Australia and New Zealand formally join the Nine Group. The business will continue to run as a separate division under John O’Neill, CEO of QMS, who will report to Matt Stanton, Nine Group CEO.

Nine said existing relationships, commercial arrangements and service levels will remain unchanged while the two companies complete their integrated go-to-market strategy.

Stanton said: “When we set about accelerating the transformation of our business, we saw an opportunity to bring to the market something unique; a diversified and digital media network that meets audiences where they are.”

He said the growth of the out of home sector, along with QMS’ digital outdoor assets and market position, made the acquisition a significant opportunity for Nine and its commercial partners.

O’Neill said: “The combination of Nine and QMS positions us to deliver more data-driven, innovative solutions at scale, while also creating fantastic new opportunities for our people as part of a larger, more connected media ecosystem.”

He said the acquisition marked a new chapter for QMS as part of the broader Nine business.

Integrated advertising offer to come

Further details about the combined Nine and QMS commercial proposition are expected to be announced in coming weeks. Until then, both companies said day-to-day arrangements for clients and partners will continue as normal.

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Top image: John O’Neill & Matt Stanton

Gemma O’Neill has publicly responded to recent media coverage linking her social media absence to business and industry developments, using an emotional video to address what she described as inaccurate reporting and personal circumstances behind her decision to step back.

The Sydney-based agency founder and close friend of radio host Jackie O Henderson had faced scrutiny after deleting her Instagram account, with some reports linking the move to the collapse of her business, Gemmie Agency, which entered voluntary liquidation in November, owing $546,000.

In a video posted online, O’Neill said she felt compelled to respond directly after a series of reports about her situation.

“So I know you might have seen the media coverage about me recently because there’s been a series of stories that have been written that, to be honest, are pretty hurtful and in many parts inaccurate, and I need to be clear here that there are legal reasons why I can’t go into detail, which is why I haven’t, and it’s also why I won’t.”

She maintained that while she could not comment on specifics, she stood by her professional record.

“But what I will say is this, is that I stand by my integrity, I stand by my work, and I stand by how I’ve conducted myself in business over a very long career, and what’s been particularly hard is seeing assumptions made about things like me apparently going quiet.”

 

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Personal circumstances behind social media exit

O’Neill said her absence from Instagram had been mischaracterised, pointing instead to online abuse and personal challenges.

“The reality was that I was receiving a level of online abuse that was quite frankly disgusting and felt very scary, and so I made the decision to step back from my personal Instagram to protect my mental health while I was pregnant.”

She also revealed she had experienced a personal loss during the period.

“Obviously, since then, I’ve been going through something very personal with the loss of a baby.”

O’Neill added that her decision to step back was not connected to any attempt to avoid scrutiny.

“None of that has anything to do with me having something to hide. It was about me taking care of myself during a very difficult moment.”

Drawing a line under speculation

The statement also included criticism of the tone of some reporting, with O’Neill suggesting coverage had moved beyond standard journalism.

“It was about me taking care of myself during a very difficult moment, and I guess what I think is disappointing is when reporting crosses the line from journalism into something that feels far more like creating noise or even bullying, and that’s just not something that I’m ever going to engage with.”

She concluded by signalling she would not continue to engage publicly on the issue.

“I know who I am, the people who matter in my life know who I am, and that matters a lot more to me than a clickbait headline. So I’m not going to give it oxygen beyond this, but I just wanted you to hear directly from me.”

Looking ahead to community and conversation

O’Neill also pointed to upcoming commitments, including her Her Best Life retreat, which she said would provide a sense of connection during a difficult period.

She said the event, scheduled for just over two weeks’ time, had taken on added significance given how she is feeling, describing the community attending as “the most beautiful, warm, loving, friendly, fun group of people” and something she expects will be important in the weeks ahead.

“I really can’t think of anything more special than being in a room with our community,” she said, adding that she is “very, very much looking forward to seeing all of you there who are coming.”

O’Neill also confirmed she is preparing for a high-profile interview as part of the event with Meghan, Duchess of Sussex.

She said she had long admired how Meghan handles public scrutiny, noting there were “a lot” of questions she wanted to ask during the conversation.

“Obviously, I’m very much looking forward to interviewing Meghan, Duchess of Sussex, too,” she said.

“I have been in awe of how she handles all of the public scrutiny she receives as well, so there’s a lot that I want to ask her.”

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After a meeting between ABC management, staff, unions and the Fair Work Commission on Monday, a new pay offer has been made in the hopes of ending the lengthy pay dispute.

The revised deal offers employees a 10.5 per cent pay rise over three years, up from the previous offer of 10 per cent over the same period.

Under the new proposal, staff would receive a 4 per cent pay rise in the first year (revised up from 3.5 per cent, and backpaid to October), and 3.25 per cent hikes in years two and three.

ABC management has also proposed a more considered approach to career progression, allowing for more rapid promotion of staff on merit.

However, the ABC has dropped the original $1000 bonus, which was originally offered but ultimately rejected earlier this month in a staff in a vote.

On Tuesday, an ABC spokesperson said in addition to an improved pay deal, the revised offer “also delivers clearer progression pathways between pay bands, targeted performance bonuses, retention of existing promotion provisions and enhanced leave entitlements.”

Jocelyn Gammie, ABC section secretary of the CPSU, said the union will be recommending that members support the improved offer.

“While ABC’s revised position does not fully address every issue in our claim, there has been significant movement on the key issues of pay and progression,” Ms Gammie said.

“In our view the strongly supported strike action last week worked exactly as intended – ABC management have listened and improved their position. Members should be extremely proud of the way they stood together and fought for what they deserve.”

Union members will vote on the new proposal at a later date.

ABC staff strike 2026

Upon return to work last Thursday after a 24 hour strike, ABC staff were asked what they would accept, and what could be the next step – with options including a one-hour stop work during the next Reserve Bank of Australia rates decision in April, or a second 24-hour walk-out to week-long walk-outs during April or during budget week in May.

In an interview with The Australian on Friday, managing director Hugh Marks said he might make concessions on some of the proposed changes to employment conditions for ABC staff.

“We have to get to a solution,” he said. “As opposed to pay, there are other areas that are options for me to consider … particularly issues that our junior and entry-level staff have with the organisation.

“I have to recognise that some staff have pretty poor experiences (at the ABC). And I know there are reasons for that.

“We have a model that rewards people based more on tenure than on demonstration of excellence.

“I would like to move more to a model that rewards people based on great outcomes, particularly some of our junior staff.

“We don’t currently do performance appraisals very well, so people get frustrated with that process. We’ve been working on that for six months and we’re going to continue to work on that over the course of the next few months.

“Excellence in output, excellence in the content that we deliver, is certainly a culture we’d love to have at the ABC.”

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ARN Media has reported a sharp decline in revenue and earnings for FY25, as CEO Michael Stephenson publicly addressed the ongoing legal drama surrounding the end of The Kyle and Jackie O Show for the first time.

The broadcaster posted revenue of $285 million for the year, down 10% on FY24, alongside underlying EBITDA of $47.5 million, a 23% drop, and underlying EBIT of $32.5 million, down 32%. Underlying NPAT fell 32% to $17.9 million.

The results reflect a year of restructuring across the business, with the company pointing to cost reductions, asset divestments and a reset of its content and commercial strategy.

Operating expenses fell 4% year-on-year to $187 million, or down 12% excluding reinvestments, while net debt reduced 28% to $63.8 million. Free cash generation increased 6% to $40.2 million, with a reported conversion rate of 234%.

Digital was one of the few growth areas, with digital EBITDA increasing more than 100% to $3.6 million.

Stephenson said the year required “difficult but necessary decisions” as ARN repositioned its operations.

“FY25 was a year of transformation where we had to make difficult but necessary decisions. We have reshaped our business, protected cash, strengthened the balance sheet and improved the quality of future earnings.

“While the near-term financial outcome reflects this transition, ARN exits the year leaner, more focused and better positioned to deliver sustainable growth.”

He confirmed the company has suspended dividends as it continues to divest non-core assets and prioritise capital management.

“The Board has taken the strategic decision to suspend dividends while non-core assets are divested, ensuring capital is deployed prudently during this phase of transformation.”

Stephenson addresses KIIS breakfast shift

Stephenson also used the results to publicly acknowledge changes to KIIS breakfast programming, marking his first formal commentary on the transition away from the long-running Kyle and Jackie O era.

“KIIS breakfast I would like to acknowledge the recent changes to KIIS Breakfast programming. We recognise the success that The Kyle and Jackie O Show delivered over many years, and we thank the many talented people whose dedication, creativity and hard work contributed to its success.”

He said ARN is now focused on developing new programming that aligns with both audience expectations and commercial outcomes.

“Looking ahead, we are developing several new shows that will deliver content that resonates with our audiences and creates value for our commercial partners.”

Focus shifts to balance sheet and future growth

Stephenson said the company had made significant progress in a short period but acknowledged further work is required.

“I would like to thank our team for their commitment during a year of significant change, and our shareholders for their continued support as we reposition ARN for the future.

“We have achieved a great deal in a short period of time, but there is more to do. I am confident that while there is more work ahead, we have great brands, great products and most importantly, we have incredible people – the foundations are firmly in place.”

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Are Media has appointed Rachel Fountain to the newly created role of Head of Vodcasts, as the publisher accelerates its push into video-led storytelling.

Fountain past experiences

Fountain brings experience across organisations, including the ABC, News Corp, Deadset Studios and Nine, and is also the founder of Fountain Media Group, a consultancy focused on podcasts, vodcasts and content ecosystems.

In the role, Fountain will build on Are Media’s existing podcast slate, including You’re Gonna Want to Hear This (Marie Claire), The Edit (Home Beautiful), Group Chat (WHO) and Love Stories (The Australian Women’s Weekly).

She will also lead the development of new vodcast formats across the company’s portfolio of women’s lifestyle brands.

New CEO comments

Fountain will report to the newly appointed Sally Eagle, who is set to step into the Chief Executive Officer role in April.

Eagle said the appointment reflects growing demand for multi-format content.

“Rachel brings a deep understanding of content and a strong track record across audio and video. She knows how to shape formats that connect with audiences,” Eagle said.

“We’re seeing a strong response to our expanding slate of programming from both audiences and commercial partners.”

Fountain comments

Fountain said the opportunity lies in extending trusted editorial brands into new formats.

“Are Media’s brands already have deep audience trust and connection with Australian women, and I’m excited to build vodcast formats that bring those relationships to life in new and compelling ways,” she said.

The appointment reflects Are Media’s continued investment in studio and multi-format content, supported by purpose-built facilities at its Park Street headquarters and an integrated distribution partnership with the iHeart.

Fountain’s appointment is effective immediately.

Main image: Rachel Fountain

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Live Nation has released its latest Love Song research, positioning live music and fandom as key engagement channels for brands targeting Gen Z.

The study, conducted by Connect by Live Nation, surveyed 5,692 Australians, including 1,411 Gen Z respondents, and outlines how younger audiences are navigating culture, connection and live experiences.

It found that 84 per cent of Gen Z are becoming more selective about where they focus their attention, with a growing preference for real-world interactions and shared experiences.

Live music emerges as a key connection point

The research shows more than half of Gen Z rely on curated environments, including playlists, creators and events, to navigate culture, while 86 per cent seek experiences that make them feel part of something larger.

Live music is a central part of that shift. According to the study, 89 per cent of Gen Z attend concerts solo to connect with others or form friendships through shared fandoms.

“At its core, Love Song shows that ‘fandom’ is central to Gen Z’s identity,” said Kristy Rosser, Senior Vice President – Marketing Solutions and Client Services at Live Nation Australia and New Zealand.

“They actively seek out live experiences to create their own cultural moments and be fully present – making it a unique opportunity for brands to engage meaningfully through curated experiences or community-building initiatives.”

Opportunities extend beyond the live event

The findings point to an expanded fan journey, with 96 per cent of Gen Z saying pre- and post-event moments are as important as the event itself.

This includes opportunities for brands to engage through artist-themed events (73 per cent), in-person fan meet-ups (74 per cent), and access-led experiences such as VIP or behind-the-scenes content.

Physical elements remain important, with 81 per cent valuing merchandise and 87 per cent holding onto items such as ticket stubs and wristbands as part of the experience.

Self-expression is also a key factor, with 86 per cent saying fashion aligned to artists plays a central role in participation.

“Gen Z’s engagement with live experiences isn’t confined to a single moment; it’s an ongoing lifecycle,” said Rosser.

“Physical merchandise has never been more important, and participatory elements such as posters and autographs are making a strong comeback. For brands, this creates an opportunity to show up meaningfully across the full journey, building deeper engagement, long-term brand affinity and authentic cultural connection.”

Study frames live experiences as a brand channel

Live Nation said the findings highlight the role of live experiences as a consistent engagement channel for brands, particularly as audiences become more fragmented across digital platforms.

The company noted upcoming tours from artists including Harry Styles and Zara Larsson, as well as BTS in 2027, as key opportunities for brands to connect with Gen Z audiences.

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If you haven’t heard of Gisèle Pelicot, the ABC’s TikTok clip about her begins: “What it’s like to interview a survivor of the most ‘depraved’ crimes.”

So, you know the video will most likely be distressing content – and it is – but not as much as it could have been.

The way veteran Australian journalist Sarah Ferguson interviews Pelicot – who was sexually abused in the most shocking ways for nine years by her husband Dominique Pelicot, and strangers from the internet – is a masterclass in empathy and sensitivity, whilst allowing the subject to tell their story, their way.

Ms Pelicot is not further traumatised, and the viewer, is in fact, inspired.

It seems impossible; Mediaweek asked the ABC’s Ferguson how she achieved that.

Interview background: the depraved abuse of Gisèle Pelicot

Dominique Pelicot’s violent abuse of his wife began in 2011, but Gisèle Pelicot, who was in her 60s at the time, did not learn of it until 2020, after he was caught secretly filming up women’s skirts at a supermarket.

When the police arrested him, they discovered videos and photographs of his wife being brutally sexually assaulted by at least 70 random men, whilst she was heavily sedated – which he had recorded and posted online.

Prior to the trial in 2024, Pelicot waved her right to anonymity as the victim in a multiple rape case, and in doing so, became a hero to women around the world. Thousands contacted her in support – and to share their own stories of abuse.

“The shame is theirs”, she said at the time of the trial of the men accused of raping her.

“I’m lucky to have the evidence. I have the proof, which is very rare. So, I have to go through this to stand for all the victims.”

On 19 December 2024, Dominique was convicted of aggravated rape and given the maximum 21 year sentence.

This year, Pelicot published a memoir, A Hymn to Life: Shame Has to Change Sides, in 22 languages – for every survivor of abuse.

Sarah Ferguson shares how she prepared for Gisèle Pelicot

Ferguson admits that preparing for the interview with Pelicot was a unique experience because of the nature of the crimes against her but also, her renown dignity.

“I knew she would be composed. She’s already re-lived her story at trial, and in her book, and has done some interviews.

“She’s a woman of great dignity, and it was my job to let her tell her story her way.”

An example of Ferguson doing that job was her decision not to include one of the more heinous moments of Pelicot’s abuse experience – the horrific ‘tooth story’, where a crown had become inexplicably dislodged in her mouth overnight, and Dominique claimed ignorance.

The story was recalled in court, and has been described in the book, but Ferguson declined to ask Pelicot about it.

Of that decision, the journalist said: “The New York Times included it in their interview. And it’s in the book. So people can know about it if they want. But I thought in a recorded interview, it would be too much for the viewer to absorb in the context of everything else.”

Ferguson further explained that it’s standout moment of depravity that “so-called normal people” would have trouble digesting.

She’s right; it’s one that will haunt you if you ever read about it.

To truly understand the gravity of Ferguson’s decision, this is what was printed by the NYT: “There’s one moment you describe in the book when a crown came loose in your mouth. You write that it was because of ‘the violence of penises being repeatedly forced into my slack mouth.’ When that crown started to move, I was eating breakfast, and Monsieur Pelicot was in front of me. Because of Covid, we can’t see the dentist. And I can’t get it out.

“But I know it’s going to fall off, and I’m afraid I might swallow it. And I ask Monsieur Pelicot, ‘Could you help?’ He went to get some gauze to remove the crown, and I thought to myself, How could it have given way? The day before, it wasn’t loose. And he says to me, ‘You must have bitten down on something.”

Indeed, she had.

“When I discovered the videos showing the violence these men inflicted on me, in my limp mouth – they have to hold my head because my face is falling, I have no muscle tone – and Monsieur Pelicot doesn’t even react. There is no empathy, no pity for this woman who is there, completely dead in her bed.”

What Ferguson asked in her Pelicot interview

Instead, Ferguson chose to focus on the parts of the story that are important to the most incredible of survivors – because that’s what Pelicot wanted.

“Her story stands out to me because she wanted to be known by her name,” Ferguson says. “She did that because she wasn’t ashamed. What happened to her was not her fault. She has written the book for other survivors.”

She adds, “I don’t want to rate my interviews, but speaking to Gisèle was extraordinary, not only because of the nature of the details, but also her dignity and impact.”

@abcnewsaus 7.30’s Sarah Ferguson explains what it was like interviewing Gisèle Pelicot, the survivor of a series of crimes that shocked the world. Sexual assault support lines: • 1800 Respect National Helpline: 1800 737 732 • National Sexual Abuse and Redress Support Service: 1800 211 028 • Bravehearts, counselling and support for survivors of child sexual abuse: 1800 272 831 • Men’s Referral Service: 1300 766 491 • Lifeline (24-hour crisis line): 131 114 • Victims of Crime Helpline: 1800 819 817 #ABC730#GiselePelicot ♬ original sound – ABC News Australia

Ferguson greets Pelicot in French

At the start of the interview, Ferguson greets Pelicot in French. Her accent is very impressive – does she actually speak French?

“Yes, I do,” Ferguson laughs.

“But I didn’t feel it was right to do that entire interview in French, even though Gisèle answered in French. I thought of the audience.

“Gisèle actually had an interpreter to repeat my questions, but that could be challenging, and I had to sometimes say, ‘Wait, that’s not what I meant.’

“There’s usually a preamble to a question, and the interpreter could pose the question differently. That’s more than just language. And it’s one of the issues of doing remote interviews, especially when the sensitivity needed is at that level.

“We did have a nice chat in French afterwards. She’s a very warm person.”

As to whether the interview would have been different in person, Ferguson says, “We really tried to make that happen, because interviews are always stronger in person. You can convey a different understanding and respect to make someone comfortable.”

Excerpt from Sarah Ferguson’s interview with Gisèle Pelicot

SF: You had to learn the terrible details of how Mr Pelicot was able to do the things that he did by rendering you unconscious. How was he able to do that? How did he do that?

GP: He explained to the court that he had subdued a defiant woman because when we were together, our relationship was pretty good.

I wasn’t under Mr Pélicot’s control; on the contrary, I stood up to him when we disagreed. We sometimes had difficult moments, but he knew I wasn’t under his control, and it would have been very complicated for him to get the sexual favours he wanted from me.

So, since he had this perversion in him, he found a nurse on the internet who explained to him what the protocol was, and that’s what he did.

Over the years, he would increase or decrease the doses so as not to put me in danger, that’s what he said. But of course, my life was in danger. I might not have been here, in front of you, today.

This perversion, perversion, he had it in him for years, but he didn’t have it. I think he had buried it deep within himself for a very long time. But with the childhood he might have had, I think all of that came back to the surface.

SF: You said at the trial, I don’t know how I’m going to reconstruct, rebuild myself, but it seems to me you are rebuilding yourself. In the book, at the heart of the story, there is a search for love after the devastating loss of one’s mother as a child. She resonates through the book. If she were here now, what would you tell her about how you are doing?

GP: I would say ‘thank you’ to her, not just to my mother, but also to my father. They gave me good genes to cope with life’s difficulties. They also dealt with sickness, pain and grief and stayed standing.

They passed on a joy in living to me, and I am passing the same torch of this joy to all the women and men listening to me today.

Life is worth living, and you absolutely must be happy. Allow yourself happiness, because we live in a very anxiety-inducing world, and we need messages of love and peace. It is very important to be at peace with oneself. You have to deeply reinvent your life, even after 70, it’s very important.

To love again is a beautiful victory for me, to have the chance to love again, that it’s possible for me to trust someone, to trust a man again.

You can watch the full interview here.

Sexual assault support lines:
• 1800 Respect National Helpline: 1800 737 732
• National Sexual Abuse and Redress Support Service: 1800 211 028
• Bravehearts, counselling and support for survivors of child sexual abuse: 1800 272 831
• Men’s Referral Service: 1300 766 491
• Lifeline (24-hour crisis line): 131 114
• Victims of Crime Helpline: 1800 819 817

Top  image: Sarah Ferguson, Giselle Pelicot. Image: ABC

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Acast has announced a new multi-year partnership with Abbie Chatfield, bringing her podcast It’s A Lot back to the platform in an exclusive agreement.

The deal will see Acast host, distribute and monetise the podcast globally.

The show currently delivers more than 500,000 monthly listens and has generated nearly 40 million downloads since launching in 2020.

Hosted by Chatfield, It’s A Lot has developed into a platform that combines interviews, social commentary, and cultural discussion, with guests including Prime Minister Anthony Albanese during the federal election.

 

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A post shared by ABBIE CHATFIELD (@abbiechatfield)

Chatfield said: “I’m beyond excited to be back home working on It’s A Lot with Acast. I started my podcasting journey in 2019 at Acast with 0 listens, an at-home podcast set up and dodgy editing skills, and I’m so thrilled to be working together once again.

“This marks a pivotal moment in my podcasting career as I am taking my own podcasting business, taking my production into my own hands and going independent with the support of Acast sales. This is a perfect partnership for my next endeavour, and I’m honoured to re-join the Acast family.”

The agreement positions the podcast as an independent format, with Chatfield retaining creative and commercial control, supported by Acast’s sales and distribution infrastructure.

Acast expands local network

The partnership adds to Acast’s Australian roster, which includes Casefile True Crime, Toni and Ryan and Hello Sport.

Guy Scott-Wilson, content director for Acast ANZ, said: “We loved working with Abbie when she launched It’s A Lot, and it’s been incredible watching her stratospheric rise over the last five years. It’s great to welcome her home as one of Australia’s most authentic and influential voices.

“By returning to Acast, It’s A Lot becomes a truly independent format. Abbie gets full commercial and creative control, and brands get a chance to integrate deeply with the community she has built, across all of the channels where Abbie shows up for them.”

Chatfield’s podcast is part of Acast’s broader strategy to grow its premium independent network and connect advertisers with established audiences across audio and social platforms.

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Jack Karlson, mate, you’re a hero.

He’s the star of “Democracy Manifest” also known as “Succulent Chinese Meal”, a viral video and internet meme of Karlson resisting arrest that has become so iconic, it’s now being preserved in Australia’s National Film and Sound Archive.

It was recorded in 1991 for a news segment by Seven News reporter Chris Reason and uploaded to the internet in 2009.

YouTube has several postings of the video, each with views in excess of a million.

It’s now been 35 years since Karlson was dragged into a police car outside a Chinese restaurant in Queensland. In a booming voice, he struggled with the police, calling:

“Gentlemen, this is democracy manifest! … What is the charge? Eating a meal? A succulent Chinese meal?”

‘Get your hands off my penis’

Guardian Australia reports that line is one of nine pieces of audio that have been added to the NFSA’s Sounds of Australia collection this year.

Karlson was at the time a criminal working under various fake names, so he would have some idea as to why he might be detained, but refused to go without a fight. At one point in the 60 clip, he even dramatically yells at a police officer, “Get your hand off my penis!”

The Sounds of Australia is a collection of sound recordings that reflect the historical, cultural and aesthetic significance of the country. The sound bites are nominated by the public and must be more than a decade old. They are then voted into the collection annually by a panel of NFSA sound experts.

The NFSA chief curator, Meagan Loader, told Guardian Australia:

“Our job is to collect content that resonates with all Australians, and everyone has such different reference points.

“We ask the public to nominate sounds every year, and we always get such a wild diversity. There are so many different perspectives and identities that are wrapped up in being an Australian, and we do try to reflect that diversity of experience in our collection.”

Jack Karlson passed away in 2024.

Top image: Jack Karlson making his iconic speech. Image: YouTube

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GQ Australia has unveiled the winners of its 2025 Men of the Year Awards, with Joel Edgerton named Visionary of the Year.

The 17th annual awards were held at Sydney’s Overseas Passenger Terminal in a black-tie event overlooking the Sydney Opera House, celebrating leading figures across fashion, film, sport, music and culture.

Celebrating influence across industries

The GQ Men of the Year Awards recognise individuals shaping their respective fields, highlighting achievements across entertainment, sport, science, fashion and philanthropy.

The event was hosted by Joel Creasey and featured appearances from some of Australia’s biggest names across the GQ red carpet.

Full list of winners

Among the major winners on the night:

• Visionary of the Year – Joel Edgerton
• Sportsman of the Year – Joseph Suaalii
• Actor of the Year – Thomas Weatherall
• International Actor of the Year – Antony Starr
• Fashion Brand of the Year – Commas (Emma and Richard Jarman)
• Creative Force – Danny Philippou and Michael Philippou
• Social Force – Centre for Healthy Brain Ageing (CHeBA) (Professor Henry Brodaty and Dr Suraj Samtani)
• Breakthrough Sportsman of the Year – Gout Gout
• Artist of the Year – Shaun Daniel Allen (Shal)
• Breakthrough International Musician – Sombr
• Musician of the Year – Baker Boy
• Model of the Year – Cruz Kahlbetzer
• Breakthrough Actor of the Year – Joseph Zada

A celebration with context

GQ Australia Editor-in-Chief Jake Millar said the awards recognise both individual achievement and broader cultural impact.

“GQ Men of the Year has long recognised the greatest talent across the arts, entertainment, sport, style, music, philanthropy and more… it’s also a celebration of Australia itself and the values that make this country so special,” Millar said.

He also noted the event had been postponed from last year following the Bondi attacks, adding the decision to proceed reflects the importance of recognising positive contributions.

“In dark times, it is important to honour those who are helping to make the world a better place… those are qualities we need to acknowledge now, more than ever.”

Backed by major partners

Supporting partners for the 2025 awards included Belvedere Vodka, Defender, Rabanne, Santa Vittoria, Uniqlo and W Sydney.

The event was produced by experiential agency The World Of in partnership with the News Corp Australia Events and Experiences team.

Main image: Joel Edgerton

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The first slate of films for the 73rd Sydney Film Festival has been unveiled, offering an early look at the titles set to anchor this year’s event.

Returning from 3–14 June, the festival will showcase a program of more than 200 films. While the full line-up is slated for release in May, organisers have confirmed an initial selection of 13 films, positioning the early reveal as a preview of the breadth and ambition of this year’s program.

Australian stories lead the charge with urgent and intimate perspectives.

Selina Miles’ Silenced follows Australian lawyer Jennifer Robinson and survivors, including Brittany Higgins and Amber Heard, as it examines defamation law in the wake of the #MeToo movement.

Ian Darling’s (“The Final Quarter, SFF 2019) The Valley crafts a quietly immersive portrait of life in Kangaroo Valley, capturing the rhythms, labour and traditions that sustain a rural community.

Star-led international features include Dead Man’s Wire, directed by Gus Van Sant (“Milk”), featuring Bill Skarsgård, Australia’s own Dacre Montgomery and Al Pacino. It recounts the infamous 1977 hostage standoff broadcast live across America.

Meanwhile, the documentary Broken English reflects on the life and legacy of Marianne Faithfull, starring Tilda Swinton and George MacKay, from the makers of 20,000 Days on Earth (SFF 2014).

Ildikó Enyedi’s Silent Friend, winner of the FIPRESCI Prize at the 82nd Venice Film Festival, will also screen, starring Tony Leung Chiu-Wai and Léa Seydoux in a story spanning three generations connected by a mighty ginkgo tree.

As will Ulrike Ottinger’s The Blood Countess, starring Isabelle Huppert and written by Elfriede Jelinek (“The Piano Teacher”), reimagines vampire mythology in a visually opulent tale, and Erupcja, in which Pete Ohs follows a couple’s getaway to Warsaw that begins to unravel, starring musician Charli XCX in a lead role.

İlker Çatak’s Yellow Letters, winner of the Golden Bear at the Berlin International Film Festival, will also screen at the festival. It follows a family’s descent into turmoil after a simple act of disobedience triggers authoritarian persecution in Türkiye.

Rafael Manuel’s Sundance award-winning debut feature Filipiñana, which follows a teenage tee-girl at an elite Manila golf course, unveiling the class divisions and violence beneath its pristine surface, is also on the program.

As is Marwan Hamed’s El Sett, which brings the life of legendary Egyptian singer Umm Kulthum to the screen in a lavish, epic telling that traces her rise to become one of the most influential voices in the Arab world.

The festival will also feature innovative approaches to storytelling that explore memory, technology and speculative futures, including Damien Hauser’s Memory of Princess Mumbi, an indie that dazzled audiences across the festival circuit. It imagines a future African kingdom shaped by the tension between artificial intelligence and tradition.

Meanwhile, Firouzeh Khosrovani’s Past Future Continuous, an International Documentary Festival Amsterdam award-winner, follows a woman who fled Iran decades ago and reconnects by watching her ageing parents via cameras in their Tehran home.

Finally, Tamra Davis’ The Best Summer, a Sundance world premiere built from archival footage shot on Australia’s 1995 Summersault tour, captures backstage moments and performances from bands including Beastie Boys, Sonic Youth and Foo Fighters.

Nashen Moodley, Sydney Film Festival Director, said: “Prize winners from Berlinale and Sundance, an immersive World Premiere from Australia, Isabelle Huppert as a vampire who’s as fabulous as they come, and more – we wanted to offer a glimpse of the distinctive voices from across the globe coming to SFF.”

The full Sydney Film Festival program will be announced on Wednesday, May 6th. Tickets to specific sessions will go on sale at the same time. For now, flexipasses and subscriptions are on sale – see here for details.

Main image: A still from The Blood Countess

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