If there were ever a day when the spin machines ran hot enough to short-circuit a newsroom coffee machine, it was the day the networks sent out their year-end ratings wrap.

Suddenly, everyone was a winner, every metric was a record, and 2025 started to look a lot like the era of free-to-air participation trophies – albeit very shiny ones.

Behind the chest-beating and carefully calibrated brag sheets, the hard numbers still tell a real story: Seven has nudged ahead of Nine in Total TV share, Nine has tightened its grip on the advertiser-sweet demos, and 10 has built its biggest streaming year on the backs of younger audiences who are drifting faster than ever toward connected screens.

Now, into the actual results…

Seven: live sport muscle, 7plus momentum and drama rebounds

Seven enters 2026 with its chest out, pointing to both audience growth and streaming acceleration. The network says it lifted its Total TV audience by 1.6 per cent year-on-year, finishing the survey with a 41.6 per cent commercial share.

Across the 40 survey weeks (minus Easter), Seven topped 24 of them. The network now says more than 17.4 million Australians tune in each month, including 4.8 million on 7plus.

Growth across the platform was significant: average live minutes up 73 per cent, VOD up 24 per cent, and daily active users up 34 per cent. BVOD share finished at 41.4 per cent, solidly ahead of last year.

Sport was the spine. The 2025 AFL season reached 17.58 million viewers, with the Geelong–Brisbane Grand Final becoming Seven’s biggest program of the year, pulling 4.19 million in Total TV and a record 984,700 viewers on 7plus Sport, up more than 50 per cent.

The Ashes lit up early summer. The First Test reached 6.2 million Australians, averaging 1.15 million per session. Streaming exploded: 186,000 viewers per session on 7plus Sport, up 232 per cent. Day 2’s third session hit 1.49 million.

News and current affairs also had a strong year. Seven says 7NEWS now reaches 12 million Australians per month, with the 6pm weekday bulletin up 4 per cent, Sunday up 6 per cent and Spotlight lifting 13 per cent.

Breakfast and mornings remain an unbroken winning streak:

Sunrise: number one for 22 consecutive years;

Weekend Sunrise: leading since 2006;

The Morning Show: 18 years on top.

Drama helped round out the slate. RFDS became Australia’s most-watched FTA drama (1.12 million average), while Home and Away lifted across Total TV and streaming.

Tentpoles surged too: MKR up 16 per cent, Idol up 15 per cent, The Rookie up 13 per cent, The 1% Club up 11 per cent.

Seven West Media CEO Jeff Howard framed the year in classic momentum terms, telling advertisers: “Seven’s story in 2025 is one of momentum and audience growth. Our audiences have grown thanks to our unmissable slate of the best Australian and international content, and the powerhouse that is 7plus.”

Group MD of Television Angus Ross doubled down on Seven’s ownership of “big moment” viewing, saying: “More and more Australians are turning to Seven and 7plus for the big moments – the nail-biting sport that unites our nation, the news that connects us and the entertainment that dominates our national conversation.”

He teased next year’s slate – My Reno Rules, Caught In The Middle, Mick Molloy and Glenn Robbins’ new comedy, plus 6,000 hours of fresh content – and leaned heavily on Seven’s live sport scale.

“Australians love sport, and the growth in our audiences this year proves they love watching it live and free on Seven and 7plus,” Ross said.

Nine: the biggest program of 2025 and unbeatable demo leadership

If Seven owned the total share, Nine owned the demos – and the metro story. Nine says it finished the year as the number one network across the five capitals, leading 25–54s, 16–39s, grocery buyers with children and Total People.

In the evenings (6pm to midnight), Nine recorded:

• 44.5% metro commercial share in 25–54s

• 47.4% in 16–39s

• 42.1% in GBs with kids

• 42.1% in Total People

Streaming was equally strong: 9Now posted a 45 per cent commercial BVOD share in 25–54s and almost 50 per cent in 16–39s.

And Nine delivered the single biggest TV event of 2025: The NRL Grand Final – 4.564 million Total TV. The game also set a new streaming record for 9Now with 1.377 million viewers, becoming the highest-rating BVOD event in VOZ history.

Rugby league dominated the network’s top programs. The State of Origin series averaged 3.846 million viewers, with BVOD up 23 per cent. The Women’s Origin series also posted growth across platforms.

Tennis remained reliable. The Australian Open Men’s Final averaged 2.068 million viewers (BVOD up 15 per cent), while the Women’s Final lifted 16 per cent in Total TV and 44 per cent in BVOD.

Reality delivered the network’s most consistent year in a decade:

Married at First Sight: 2.58 million per episode

The Block Grand Final: 2.69 million

The Floor: 1.37 million

Tipping Point Australia: 753,000 (up 16 per cent)

Love Island Australia: 734,000 average, driven by a 576,000 streaming-only audience, up 104 per cent

News and current affairs also powered Nine’s brand. 9News’ 6pm bulletin averaged 1.263 million Total TV, up 11 per cent, with 130,000 nightly streamers on 9Now (up 48 per cent). A Current Affair held steady at 1.027 million.

Nine executive director Hamish Turner said the network’s mission was cultural impact: “We are immensely pleased that Nine has consistently presented Australia’s most essential and culturally resonant content throughout 2025.”

He highlighted trust as Nine’s premium currency: “In an age of disinformation and information overload, the trust and credibility of our News and Current Affairs programming is the vital currency Australians rely on.”

Chief sales officer Matt James tied the big moments to advertising demand: “Brands and advertisers want to be part of big cultural moments – and we deliver that from January through to December.”

10: youngest audience, record streaming and a supercharged reality revival

Network 10 enters 2026 waving one clear flag: youth.

The broadcaster claims to have the youngest FTA audience in Australia, with an average viewer age up to seven years younger than its competitors’.

2025 was also 10’s biggest streaming year ever – up 31 per cent – with a monthly streaming reach of 2.7 million.

Reality drove the lift:

Big Brother: 5.5 million reached, 881,000 viewers average (up 125 per cent), and the network’s biggest streaming audience ever

Survivor: Australia V The World: 842,000 average, 225,000 streamers

The Amazing Race Australia: Celebrity Edition: 813,000 average, up seven per cent

Australian Survivor: Brains V Brawn II: 806,000 average

MasterChef Australia: Back To Win: 760,000 average, record streaming audience

I’m A Celebrity… Get Me Out Of Here!: 753,000 average

Gogglebox: 722,000 average, streaming up 214 per cent

Comedy also punched hard: Sam Pang Tonight averaged 590,000 and topped its slot; The Cheap Seats hit 538,000; Taskmaster Australia reached 489,000.

Sport proved a crucial pillar. The 2025 F1 Australian Grand Prix drew its largest TV audience since 2016, averaging 1.06 million viewers. Matildas and Socceroos matches posted record streaming numbers across 10 and Paramount+.

Paramount Australia VP content Tamara Simoneau framed the year around momentum: Big Brother broke records, clocking up 10’s biggest ever streaming audiences and captivating hard-to-reach younger demos. It is safe to say that Big Brother returned home with a bang!

CSO Rod Prosser pitched 10’s youth skew directly to marketers: “2025 has been a standout year for 10’s slate, delivering exceptional performance with younger, commercially valuable audiences that advertisers are actively seeking.”

Free-to-air’s fundamentals: sport reigns, news holds, reality endures

Across all three networks, the dominant trend of 2025 is unmistakable: Australians still show up for big, shared, live moments.

The two biggest programs of the year were the NRL and AFL Grand Finals. Motorsport, tennis, Ashes cricket and prime-time football fixtures all lifted.

News remained a daily anchor, with Nine leading metro markets and Seven owning breakfast and mornings.

Reality franchises again proved resilient – MAFS, The Block, MKR, Idol, Survivor, MasterChef, and Celebrity all posted double-digit lifts in Total TV or streaming.

The OzTAM 2025 survey reflects a local TV industry that’s fragmenting but still capable of delivering scale when it matters – and in 2026, the fight for those moments only gets fiercer.

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The Australian Radio Network (ARN) is gearing up to hire what insiders are already calling “Kyle’s babysitter,” with radio veteran Craig Bruce saying his sources have confirmed ARN is actively searching for a senior content advisor to sit above the censor team.

The move comes as the network reshapes its top ranks and works out how to keep its most volatile breakfast show on the rails.

The news also comes just days after Mediaweek broke the news that the company decided to axe its Chief Audience and Content Officer, Lauren Joyce, making her role redundant.

Censoring the censors

Speaking on The Game Changers podcast, Bruce told listeners the hire is not theoretical – it’s underway.

“They’re overseeing the censors,” he said. “They’re going to be signing off on interviews. My understanding, and I’ve got some pretty good intel, is that whatever that reads, lead and mentor a team responsible for monitoring live recorded audio to ensure all content needs broadcast.”

The framing sounds procedural, but Bruce argues the intent is far more specific.

“It is completely unnecessary,” he told Mediaweek. Kyle and Jackie O, he says, already know exactly where the lines are – and cross them when they choose to.

“They could just make better content decisions. No amount of censor support will change the nature of the show – it starts and ends with the hosts.”

Bruce assumes the content director would sit atop the reporting line, but he’s careful not to attach names.  What’s clearer is the role’s purpose: a buffer between Kyle’s instincts and ARN’s brand-safety headaches.

A role created for one person only

Bruce’s view is direct: the position exists because of Sandilands.

“Kyle wants to be able to say whatever he wants on the air, and to some extent, this is one of the reasons he’s been so successful,” he said. While most presenters self-edit, even subconsciously, “for Kyle it’s pure ID.”

That rawness is both the show’s Unique Selling Proposition (USP) and its commercial risk. Bruce notes the program can be “unlistenable to new audiences and brands that want to advertise in a safe environment.”

“This is a role that exists purely for Kyle,” he said. “It exists because he doesn’t want to be held back when the mics are on.”

Will it work?

Bruce doesn’t hedge. “No. The role won’t make any difference,” he said. “The difference has to come from the people who have their names on the billboards.”

And if ARN pushes ahead regardless? Bruce puts it simply: expect “more hand-wringing.”

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The Wiggles have issued a statement after two of their members appeared in a music video for a song that includes references to drugs.

Keli Holiday, whose real name is Adam Hyde, shared the clip to promote his new song Ecstasy, which featured Blue Wiggle Anthony Field and the Tree of Wisdom dancing in the background.

The lyrics said: “Hey girl, come on, dance with me. You and your pocket full of ecstasy.”

The video was captioned: “The Wiggles get it.”

The clip quickly sparked outrage, with parents concerned that The Wiggles’ appearance suggested an endorsement of drug use.

The Wiggles said the group “does not condone” the use of drugs “in any form.”

“We understand that a video circulating on social media has caused concern for many parents and professionals, and we want to address that directly,” the statement said.

“The content being shared was not created or approved by us. We have ensured it has been taken down. While Keli Holiday is a friend of The Wiggles, the video and the music added to it were created independently and without our knowledge.”

The video was viewed more than 92,000 times before it was deleted.

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A Campbell’s Co. executive has been fired after a year-old recording surfaced of him trashing the company’s products and its customers.

Martin Bally, a vice president in Campbell’s IT department, allegedly described its products as being for “poor people” and referred to Indian colleagues as “idiots.”

He also claimed the company uses “3D-printed meat.”

“We have s**t for f**king poor people. Who buys our s**t? I don’t buy Campbell’s products anymore. It’s not healthy now that I know what the f**k’s in it. Bioengineered meat! I don’t wanna eat a f**king piece of chicken that came from a 3D printer,” Bally said, according to the recording.

The expletive-filled rant was released by former Campbell’s employee Robert Garza who is involved in a lawsuit against the company.

Soup firm reels after rant goes viral

Bally was placed on temporary leave while Campbell’s investigated the matter.

On Wednesday, Campbell’s said it believes the voice on the recording is “in fact Martin Bally” and that he is “no longer employed by the company.”

“The comments were vulgar, offensive and false, and we apologise for the hurt they have caused,” the company said in a statement.

“This behaviour does not reflect our values and the culture of our company, and we will not tolerate that kind of language under any circumstances.

“We’re thankful for the millions of people who buy and enjoy our products and, we’re honoured by the trust they put in us.

“We are proud of the food we make, the people who make it and the high-quality ingredients we use to provide consumers with good food at a good value.”

Campbell’s push to protect its reputation

Campbell’s has updated its website to include a set of FAQs, including “Is Campbell’s chicken 3D-printed?”

The company said its products contain “real chicken meat, from real farms” which come from “reputable US-based suppliers.”

“The comments heard on the recording about our food are not only inaccurate, they are absurd,” Campbell’s said.

“No. We do not use lab-grown chicken or any form of artificial or bioengineered meat in our soups.”

Campbell’s has worked with agencies including Leo and Mischief @ No Fixed Address.

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Australasia’s largest real estate group, Ray White, has become the first network to tap into REA Group’s new market intelligence data suite after the pair today unveiled a major data agreement and a network-wide Pro subscription partnership.

The deal is live from today and hinges on Ray White’s ability to fully integrate PropTrack and realestate.com.au’s expanded market performance data into its proprietary NurtureCloud, Pulse and OneSystem technology stack.

A data partnership built for scale

Ray White is now the first agency group with access to REA’s enhanced data environment, enabling benchmarking across suburb, state and national levels – including visibility into market share and conversion trends.

Alongside the data agreement, the network-wide Pro subscription will give Ray White agents nationwide access to REA’s advanced vendor-winning tools and intelligence products, all designed to streamline advertising and transaction workflows.

Ray White Chief Systems Officer Jason Alford said the partnership cements years of investment in the group’s technology infrastructure.

“Ray White has invested heavily in building technology platforms that other networks simply don’t have. Our OneSystem, plus NurtureCloud and Pulse suite, are specifically designed to absorb, analyse and activate comprehensive property data at scale,” he said.

“Our technology vision has been built on industry-leading technology, powering our OneSystem and NurtureCloud platforms.

“Through our own network scale and trusted third parties, we have curated a range of extensive data sets to power the OneSystem, as well as provide our specialist economics, technology, digital, marketing, and wider corporate team with the data they need to bring best-in-market insights and products to you.

“We’re constantly looking for ways to improve the quality of our data and its completeness, and we now have the opportunity to do this through a new agreement we have entered into with REA and its data company, PropTrack.

“We’re confident that this partnership will support our ambition to generate more leads, assist with getting in front of more vendors as they consider bringing their properties to market, and help our agents win more listings.

“We chose realestate.com.au and PropTrack as our data partners because their unmatched market insights, industry-leading API architecture, combined with our tech stack, will help propel the growth of our 550+ Australian offices. Ray White’s systems are built to turn these insights into actionable intelligence that drives real results for our agents and their clients,” he said.

REA calls Ray White the ‘ideal first partner’

REA Group Executive General Manager Customer Platforms and Services Tim Bradley said Ray White’s sophistication made it the natural testing ground for the group’s most advanced intelligence products.

“A record 13 million people visited realestate.com.au in October. The scale and quality of our deeply engaged audience, and the fact that we have more listings than anywhere else, ensures realestate.com.au has the most comprehensive view of the Australian property market, and our market insights are unmatched,” he said.

“Our customers have been asking for new ways to access data that supports the growth and optimisation of their businesses and we’re delighted that the Ray White network will be first to access our new market intelligence offering.

“Ray White’s sophisticated systems mean they will be able to seamlessly integrate our expanded data sets and transform them into strategic advantages for their network. The network-wide Pro partnership will also drive better results, supporting agents to win their next listing with access to the richest supply and demand insights through tools like our market-leading CMA and Lead Insights,” he said.

What’s next for REA’s intelligence products

REA confirmed its market intelligence suite will continue to expand into 2026. Its Ignite platform will play a central role, with reporting set to evolve into an AI-enhanced experience offering deeper, more actionable insights.

REA customers seeking access to the new tools are being directed to their Relationship Manager or Customer Support.

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Pop icon Kesha has graced the cover of Cosmopolitan Australia’s December issue and spoke to the publication about her new music and journey to reclaiming her voice after a decade-long legal battle with her former producer.

Known for her party girl pop persona, Kesha is entering a new era – one defined by artistic freedom, spirituality, and shamelessly owning her sexuality. Her new album, (period), is the first she has created entirely outside the control of her former producer.

“I wanted to immortalise what it would sound like really gaining back the rights to myself,” she said, reflecting on a transformative moment in her career.

Kesha spoke about embracing desire without shame and said: “Society has put shame on me because I like a f*cking red flag? Fuck that. I do like a red flag, they’re hot. Shame on me for being a woman in my body who is a sexual person at times or whose body fluctuates at times? F*ck that.”

She also shares the inspiration behind her Tits Out Tour, describing it as a spiritual, queer, and radically accepting space she never had growing up: “I wanted this to be the queer church I was looking for when I was in high school.”

In the feature, Kesha positions her happiness as a political and feminist act: “I think as a woman who’s gone through what I’ve gone through, my joy is such a political statement. It’s such a feminist statement for me to be happy, for me to believe in myself, and for me to just be standing on my own two feet, independent and whole.”

She also touches on her biggest competition and the evolving music landscape: “I think it’s amazing that now we’re living in a time where it’s more collaborative, and artists – and especially women – can just appreciate and love and honour each other. The only competition I have is with being the most authentic version of myself.” She added, “I fucking hope they win the Grammy.”

The creative direction for Kesha’s cover shoot drew on the chic glamour of the late ’60s and ’70s, with photographer Sam Clare working closely with Kesha’s team to bring the vision to life.

Inspired by Kesha’s love of Bowie, her rock ’n’ roll edge, and a touch of commercial LA style, the shoot unfolded in a retro-style home in Gruin Gallery in the Hollywood Hills. The concept evolved naturally, taking on a sultrier, moodier vibe as the team shot multiple looks.

From a shimmering Zimmerman dress to a laid-back denim look and a stunning high-neck cut-out dress for the cover, the shoot captured various sides of Kesha – chic, sophisticated and effortlessly timeless.

Katarina Kroslakova, Publisher and Editor in Chief, said: “Kesha felt like the natural choice for our December cover. This era of hers, fiercely independent, spiritually expansive and unapologetically sensual, is unlike anything we’ve seen from her before.

“After a decade fighting for her autonomy, she’s finally creating entirely on her own terms. Our December issue is about power, pleasure and possibility, and Kesha embodies all three. She’s stepping into a chapter defined not by survival but by self-possession, and I think our readers will see in her story a reminder that owning your voice, loudly, messily and without apology, is its own form of victory.”

This December issue of Cosmopolitan Australia also shines a light on the next wave of local talent shaping culture across Australia and New Zealand. Creative director and undeniable cool girl Yasmin Suteja shares her love language and relationship advice in a candid Q&A.

Gemma Chua Tran, fresh from Heartbreak High’s global success, stuns in a new shoot, actor Zoe Terakes opens up about their debut book, and rising pop star Charley discusses new music and why pop music is so back. And, in true Cosmo spirit, the iconic Sealed Section features a sex-positive Christmas gift guide designed to bring a little extra spice to the holiday season.

Cosmopolitan Australia’s December issue is on sale nationwide at newsagents and online from 1 December 2025.

Journalist: Ella Sangster
Photography: Sam Clare
Styling: Oretta Corbelli at Honey Artists
Hair: Eduardo Ponce At Opus Beauty
Makeup: Leo Chaparro At Paradis Agency
Styling Assistant: Allegra Gargiulo
Production Assistant: Camryn Spratt
Photo Assistants: Brooks Gallo, Danya Morrison

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The Australian Influencer Marketing Council (AiMCO) has introduced a new category to its annual awards, launching the inaugural People’s Choice Award and inviting Australians to vote for their favourite creator for the first time.

The 2025 AiMCO Awards’ major partner is AI-powered influencer marketing platform Fabulate, with additional partners to be announced in the coming weeks.

Voting is now open and will run until 31 January, with the winner to be crowned at the 2025 AiMCO Awards ceremony in February next year.

Any creator shortlisted in this year’s AiMCO Awards is eligible to take out the public-voted prize.

The shortlist includes more than 40 nominees across multiple agencies, genres and platforms, reflecting the breadth of Australia’s creator economy.

A diverse list of creator nominees

The inaugural nominees span lifestyle, comedy, food, education, fashion, parenting, sport and financial literacy all drawn from the official AiMCO Awards shortlist. Among them are:

· Kate Jenkinson, Neuralle (@katejenko)
· Chloe Wheatland, Made by Muse Agency (@chloeevegan)
· Steph de Sousa (@steph_cooks_stuff)
· George Georgievski (@schoollunchbox)
· Adrian Widjonarko (@adrianwidjy)
· Joanna Fleming (@joannafleming)
· Razia Moe, One Daydream (@raziamoe)
· XiaoXiao Wang, One Daydream (@xiaoxiaowangg)
· Ben Blue, JRM Group (@ben_blue)
· Kick It Forward, Neuralle (@kick.it.forward)
· Macfarlane Bros, Neuralle (@macfarlanebros)
· Clayton’s World, JRM Group (@claytons_world_)
· Toni and Ryan (@ryan.jon and @tonilodge)
· Rhylee Passfield, JRM Group (@rhyleep)
· Rach D’Oliveira, Day Management (@rachel_de_oliveira)
· Aussie Antics, Click Media (@ausantics)
· EYstreem, Spawnpoint Media (@eystreem)
· Loui Burke, Day Management (@louiburke)
· Brooke Styles, Born Bred Talent (@brooke.styles)
· Haz and Loz, Made by Muse Agency (@haz_and_loz)
· Jiny Maeng, Born Bred Talent (@jiny.maeng)
· Ben McIntosh, Day Management (@benjmcintosh)
· Brooke Thomo, Huume Management (@cedarandsprinkle)
· Princess Honeybelle (@princesshoneybelle)
· The Haddad Family, JRM Group (@thehaddadfamily_)
· Elloise Fit, Huume Management (@elloise_Fit)
· Sebastian Serrano-Valladares, ICON Management (@9to5ver)
· Tina Rahimi, Born Bred Talent (@tinarahimii)
· Tony Rhee, Born Bred Talent (@thefunctn)
· Tori Singleton, Vive Management (@ttorisstory)
· Tash Invests, Huume Management (@tashinvests)
· Ella Maegraith, ICON Management (@smileycitrus)
· Tait McGregor (@taitmcgregor)
· Adelle Petropoulos, One Daydream (@a_p_artistry)
· Emily Kristopher, JRM Group (@emilykristopher)
· Mumma Mic (@mumma.mic)
· Esme Louise James (@esme.louisee)
· Brother Boys, JRM Group (@the_brotherboys)
· Shayla Jay, Day Management (@itsshaylajay)

More than 100 creators, brand teams and agency practitioners were recognised across the full 2025 shortlist, which attracted a record number of entries this year.

Celebrating creators through direct community support

AiMCO managing director Patrick Whitnall said the new category was designed to elevate creators through the voices of their own audiences.

“The People’s Choice Award is an important new category for our 2025 awards, recognising the desire to directly support and celebrate our favourite creators. This award is an opportunity for everyone to get behind the creator community – it’s our way of amplifying the voices of our creators’ many fans, collaborators and supporters, giving them a chance to publicly acknowledge the work and achievements of their favourite influencers.”

If you see your favourite creator in the list and want them to win, Click here.

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ACMA is urging organisations that use branded identifiers in their SMS messages to register their sender IDs with their telco provider ahead of the launch of the SMS Sender ID Register in July.

The register will safeguard consumers and brands from scam messages impersonating legitimate organisations and help restore confidence in branded SMS communication.

Organisations using text messaging to communicate with their customers must register all their sender IDs by 1 July 2026.

Unregistered sender IDs will be replaced with the word ‘Unverified’ and grouped together in a single message thread on recipients’ phones, alerting recipients that the text is a potential scam.

ACMA chair Nerida O’Loughlin urged all organisations, including banks, medical and dental surgeries, retailers, utilities and not-for-profits, to contact their telco provider as soon as possible.

“Anyone using sender IDs must act now to prepare for these changes and get their sender ID registered to take advantage of the new protections,” she said.

“If a legitimate organisation does not register their sender ID, their messages could be mistaken for a scam, disrupting customer communications and affecting brand reputation.”

The register is being implemented as part of the government’s Fighting Scams initiative to address scams and online fraud and protect Australians from financial harm.

The rules also require participating telco and other providers to educate consumers about what to expect when the register goes live and inform customers about registration requirements.

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Legendary sports broadcaster Bruce McAvaney OAM has been recognised with the prestigious World Athletics President’s Award.

The accolade celebrates for McAvaney’s lifelong support and contributions to athletics broadcasting.

The Award was presented on Sunday night in Monaco by British Olympian and former UK politician Sebastian Coe.

The World Athletics President’s Award – which was first bestowed in 2016 – is given to those who have made significant contributions to the sport and is one of the highest honours in world sport.

The most recognised, respected and loved sport commentator in Australia, McAvaney started his television career at 7NEWS in Adelaide in 1978 and went on to present many high-profile sports throughout his career, including AFL, horse racing, motor racing, tennis, golf and Olympic and Commonwealth Games – but none is dearer to his heart than athletics.

The legendary broadcaster is synonymous with major sporting events, including the AFL Grand Final, Melbourne Cup, Australian Open tennis, Test cricket and the Summer Olympic Games, covering every Olympiad from Moscow 1980 through to Paris 2024, with the exception of the 2012 Games.

Seven West Media Chairman, Kerry Stokes AC, said: “I have known Bruce for three decades and love the guy. He is synonymous with athletics and many other sports, and I am very proud of his huge contribution to Seven Sport’s success.

“Bruce has a unique and very warm connection with both athletics and the public, and I congratulate him on receiving this honour. Everyone at Seven is very proud of Bruce and his achievements,” he said.

Australian Sport Hall of Fame Legend and five-time Olympic Medal winner, Catherine Freeman OAM, added: “Bruce McAvaney is a gift to us all. His voice, his charisma and his ability to tell athlete’s stories while taking sports fans along for the ride, is an experience for us all to behold.

“Bruce continues to connect sports lovers through his passion, professionalism and his infectious love for life that has shone the whole way through his broadcasting career.

“Congratulations Bruce McAvaney on your World Athletics President’s Award, a truly well-earned honour.”

McAvaney said of the recognition: “Athletics has been the central thread of my career at Seven and is a sport I hold incredibly close to my heart.

“To be honoured in this way, and by someone I have such enormous admiration for in Sebastian Coe, is truly one of the highlights of my career.

“The timing makes it feel especially meaningful. I genuinely believe Australian athletics is entering a revitalised golden era, and with the renewed focus on the sport right now, this recognition carries even greater significance for me,” he said.

“I’ve been incredibly fortunate to work across many major events and sports, but nothing compares to athletics at the highest level.

“The opportunity to call those defining, once-in-a-lifetime moments, from Cathy’s unforgettable race at Sydney 2000, to Ollie Hoare’s brilliance in Birmingham, and everything still to come at Glasgow in 2026 – those moments are what fuel my passion and make my job as a broadcaster so special.”

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