Monday June 1, 2026
Next of the Best: why the ivy Ballroom is the only place to be on June 11
By the time the calendar flips to June, the Australian media industry collectively runs on fumes, flat whites, and end-of-financial-year adrenaline. And for sure, you’ve survived way too many “just bumping this to the top of your inbox” emails by now.
You need a break. More importantly, you need a room full of people who actually understand exactly what you do all day.
In just one and a half weeks, on Thursday, 11 June, the 2026 Mediaweek Next of the Best Awards will take over the Ivy Ballroom in Sydney. And it’s shaping up to be a solidly concentrated gathering of actual industry heavy-lifters.
Thank you very much.
Grading the industry’s best
This year, we didn’t just call for awards entries; we asked the absolute titans of the market to review them.
Our judging panels, featuring leaders like Sian Whitnall alongside Virginia Hyland, Darren Woolley, and Olia Krivtchoun, waded through the data, the decks, and the bold claims to find the people genuinely driving outcomes.
The resulting shortlist serves as a masterclass in talent. We are talking about the strategists, the commercial drivers, and the culture builders from over 30 of the most powerful agencies, publishers, and platforms in the country.
Pop culture chaos meets the company tab
To keep the spirit of the night firing on all cylinders, we’ve handed the MC microphones over to Nic Kelly and Loren Barry from The Hot Hits.
They typically spend their time wrangling global pop stars and dissecting red-carpet fashion. Next Thursday, they’ll be wrangling a ballroom full of media executives while judging how agency types interpret “Cocktail dress”.
We couldn’t have built this event without some serious backing. So we send a big thank you to our headline sponsors, News Australia, LiSTNR, and Blis, for helping us build a platform that genuinely champions the leadership delivering industry results.
Secure your spot
If you have a finalist on the board or simply want to treat your team to the best EOFY party going, the clock is ticking.
Entrants submitted their work. The judges made their decisions. Let’s make sure we see you there.
Tickets available here.
EXCLUSIVE: Radio boss suspended after Audio Awards stage incident
2HD general manager Guy Ashford has been suspended from his duties following an incident at last week’s Audio Awards.
Ashford was filmed by several people in the audience as he went onto the stage after 2HD presenter Cheralyn Darcey, who hosts The Nightline on 2HD from 8pm to midnight, won the “best newcomer” award.
Video seen by Mediaweek shows Ashford embracing Darcey before grabbing her from behind.
Several attendees who witnessed the incident contacted Mediaweek and shared the footage.
“What a grub,” one source told Mediaweek. “I feel so sorry for Cheralyn.”
Cheralyn Darcey
The Super Radio Network, which owns 2HD, has confirmed Ashford has been stood down while the matter is addressed.
SRN managing director Graham Mott told Mediaweek Ashford had been “suspended from work”.
Mott said he had also “apologised to Cheralyn and her husband, who was also at the awards”.
“We will be having further discussions regarding the matter,” he said.
Darcey appears to have addressed the incident and its fallout on her LinkedIn page, thanking those who “raised her up”.
“There are so many who have raised me up but two women who comes to mind immediately are Andrea Ho and Natalie Pozdeev.
“Mentors, inspirations and just wonderful humans. So blessed you are both there in my industry and in my life,” she wrote.
Ashford was general manager of SRN’s NEWFM and 2HD from 2008 to 2015. He then moved to online trading network Bartercard, where he oversaw sales and trading, before rejoining the Super Radio Network in 2021.
Guy Ashford
The latest incident comes amidst the backdrop of talk SRN is up for sale.
Mott pushed back against speculation about the company’s future ownership, telling Mediaweek back in April that the network was “not for sale”.
Main image: A still from the video sent to Mediaweek.
Accenture Song nabs Australia Post media agency remit
Australia Post has appointed Accenture Song as its media agency of record, with the partnership commencing on 1 June 2026.
Following a competitive pitch, Accenture Song will lead Australia Post’s media strategy, planning, activation and performance.
The appointment will support Australia Post in strengthening customer engagement across Australia.
AI-led media solutions
Australia Post said the appointment reflects its focus on delivering more relevant customer communications and stronger marketing performance through data, technology and AI-enabled media solutions.
Aimee Dixon, General Manager, Marketing at Australia Post, said Accenture Song stood out during the pitch process.
“We are pleased to appoint Accenture Song as our media agency partner as we continue to strengthen our marketing and communications capability.
“The team’s strategic media thinking, capability across AI-led innovation, data and technology, and clear focus on performance made them stand out during the process.
“We look forward to working together to deliver stronger customer connection and measurable business outcomes.”
Accenture Song on the win
Melissa Fein, Managing Director, Media at Accenture Song, said the agency was proud to partner with Australia Post.
“Australia Post is one of the country’s most trusted and recognisable brands, and we are proud to be appointed as its media agency partner.
“We look forward to partnering with Aimee and her team to deliver media solutions that bring together strategy, data and technology in support of Australia Post’s next phase of growth.”
Top image: (L-R): Nick Thomas, Melissa Fein, Chris Colter and Sam Geer.
Alex Cullen exits The Christian O’Connell Show
Alex Cullen has departed ARN’s national breakfast program, The Christian O’Connell Show, stepping down from his role as sports reporter.
His final appearance on the show aired today.
Cullen said he had made the decision after a year of balancing the breakfast radio role alongside television commitments and raising three young children.
“Working with Christian and the team has been a joy and a privilege, but the grind of holding down two jobs at both ends of the day was proving too much, and something had to give. So, I’ve decided it’s time to put the early-morning alarm clock away for a while and focus my efforts on my TV roles and my very energetic young family.
“Thank you to Christian and the team for the laughs, and thank you to our wonderful audience who tune in every day. It’s been an honour.”
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O’Connell said, “Alex has been a joy to work with and get to know. I totally understand why he’s leaving, as it’s been a crazy schedule having two jobs and a young family.”
ARN Chief Content Officer Kerri Elstub called Alex a “true professional whose love of sport and authenticity shone on air”.
She added, “While we know there are no sleep-ins with young kids, we know you’ll enjoy a different kind of alarm clock.”
Cullen joined The Christian O’Connell Show breakfast team in 2025.
The neverending grind
Back in September last year, Cullen revealed he’d scored a job at Seven to front an afternoon news program, telling O’Connell and listeners he would be “taking viewers through the afternoon from three o’clock”.
Cullen also outlined the program’s target audience, saying with a laugh: “We’re going to get all the nannas, the pensioners, the stay-at-home mums! We’re going to do something a little bit later in the month.”
The father-of-three hinted the show had been in the works for some time, saying: “Commercial TV moves at a glacial pace and we want to get this right.”
Cullen’s roles at both ARN and Seven came after he stood down from his on-air role on the Today show following controversy over his acceptance of a $50,000 gift from billionaire Adrian Portelli.
At the time, Today host Karl Stefanovic confirmed Cullen’s departure on-air, describing him as a “terrific fella” and praising his five years with the team. “We’re going to miss him terribly,” Stefanovic said, wishing Cullen and his family all the best.
The drama began after Portelli, eager to ditch his “Lambo Guy” label, offered the cash to the first TV journalist to call him “McLaren Man.” Cullen took the bait during a lighthearted exchange on Today with Stefanovic, only to face disciplinary action from Nine soon after.
The network immediately sidelined the host, releasing a statement to the media saying they were arranging for the money to be returned to Portelli and adding that they were taking the matter “very seriously”.
Netflix sends $1bn of its Australian-made revenue overseas
Netflix transfers more than $1bn of its yearly revenue made in Australia overseas, to avoid a larger tax bill, the Financial Review reports.
It’s the biggest streaming service in the world, making $1.47b in subscription fees just in Australia in 2025. But the streaming giant has now been revealed to be sending $1.35 billion of that sum as “distribution fees” off-shore.
Sky News reports that Netflix Australia’s revenue in 2025 was $119 million, while recording a $20 million profit.
There is no implication that this is a an inappropriate business move, but the data is useful as the government pushes for more locally-made content from the company.
The news comes after last week’s revelation that Netflix subscribers are paying more, despite being served less original content.
Data compiled by Netflix & Chiffres, reported by What’s on Netflix, found Netflix released 23 original films globally in the first quarter of 2026, its lowest Q1 film output since 2018.
The figure marks a sharp fall from the first quarter of 2022, when Netflix released 50 original films. It also comes as streaming platforms face growing scrutiny over price rises, password-sharing restrictions and the value equation for subscribers.
Kylie Minogue in ‘Kylie’ has been a major winner for Netflix this year. Image: Netflix
Netflix charges more for subscriptions
The shift does not mean Netflix is short of programming. It still releases a high volume of series, documentaries, licensed titles and international productions across the year.
But the first-quarter film figures point to a more selective movie strategy. Netflix has been moving away from the era of releasing a large number of original films, many of which struggled to cut through, toward fewer titles with broader audience potential.
For Australian users, that strategy is landing alongside higher monthly costs. Netflix’s Australian plans now range from $9.99 to $28.99 a month, with the Premium tier priced at $28.99.
That Premium plan offers ad-free viewing, selected 4K and HDR titles, spatial audio, and downloads on up to six devices. It is also more than double the $13.99 monthly price attached to Netflix’s top Australian tier in 2018.
Amid the chaos, brand success still starts with trusted journalism
Katie Davies, executive editor, nine.com.au, & Ashleigh Thomas, commercial director, Nine Publishing
We need journalism more than ever, not only to verify the world, but to make sense of it. And for brands looking to cut through the noise, there is no more powerful place to be seen than right alongside the facts.
The media landscape is facing a defining moment. As generative AI and social media algorithms create a crisis of clutter on the web, audiences are being flooded with an onslaught of unverified content, deepfakes and noise.
But out of this chaos comes a great awakening: AI won’t kill journalism. It is only making free and factual media more valuable than ever before.
As the digital ecosystem sits in a crisis of clutter, nine.com.au continues to thrive as the ultimate anchor of truth for nearly 10 million Australians. For nine.com.au executive editor Katie Davies, this shift highlights a truth she has witnessed firsthand since her very first day in the newsroom.
A newsroom revelation
About 18 years ago, I sat in a newsroom in England as a fresh-faced cadet. I had just landed my first job as a reporter. A sub editor, about 30 years my senior, shouted across the office: “Why did you choose journalism? It’s a dying profession. We’ll be all gone in five years.”
His comments rattled me. It’s all I’d ever wanted to do, the only thing I’d trained in. What if it was only going to last five years? Today that masthead still exists, likely with more readers than it did then.
Yes, the industry has gone through significant changes over the past 20 years and is facing probably its biggest yet with AI. However, one core principle has not changed, trust.
The recent inaugural News Nation report from ThinkNewsBrands highlighted a stark reality: 78% of Australians see national news publishers as trustworthy, compared to just 36% who feel the same about social media content creators.
In fact, nearly two in five Australians now actively turn to premium news media specifically to fact-check the chaos they encounter on social platforms.
The need for free and factual news sites like nine.com.au has never been greater.
A faster, cleaner, more powerful ecosystem
From today, we are officially unveiling the new nine.com.au. This relaunch is a comprehensive upgrade of our digital ecosystem designed to drive deeper engagement and meet audiences exactly where they are.
Our team of outstanding digital journalists brings trusted breaking-news to Australia 24 hours a day.
We have streamlined to focus on the absolute best of entertainment, sport, lifestyle, travel, and shopping under a single, unified, and premium nine.com.au brand. A key focus for our team remains original, relatable and entertaining content that builds a genuine connection with readers, the very same principles we were taught at the start of our careers.
Despite what that sub editor told me many years ago, journalism has stood the test of time. People still value trust, and I believe that makes our industry as vital as it’s ever been.
More detail on the new nine.com.au here.
The foundation of brand impact
It is the very foundation of trust that commercial director Ashleigh Thomas believes represents the single greatest opportunity for brands looking for true impact.
When consumers use nine.com.au to anchor themselves in the facts, that feeling of trust doesn’t stop at the editorial. It rubs off on the advertising next to it. We are delivering a highly engaged, high-intent audience in a uniquely receptive state of mind.
When readers trust the environment, they trust the brands within it.
When we looked at redesigning the site, our absolute priority was creating a quality digital environment where brands can truly perform. We’ve built a faster, cleaner user experience that is intentionally engineered to cultivate strong daily habits with our audience.
By streamlining the UX and extending their time on site, we are giving more meaningful, sustained opportunities to connect with Australians in a highly receptive state of mind.
Maximising audience attention
We’ve also elevated our storytelling formats to maximise that audience attention. There is nothing quite like the collective energy of a breaking-news story, and our high-impact live blogs are fast, dynamic, and keep eyes absolutely glued to the page as events unfold.
Alongside this, we’ve taken the friction out of video by embedding premium video natively into the editorial flow, capturing consumer attention naturally and driving massive engagement without disrupting their experience.
These enhancements have been implemented across both web and app, extending our engagement across these formats.
We’re incredibly proud of our new architecture, because it not only protects the integrity of our journalism and of your brand’s creative, but intentionally strips away the clutter so an advertiser’s message can be felt and acted upon.
Your campaigns deserve to be showcased in the highest-quality digital real estate in the country, and this relaunch delivers exactly that; unparalleled viewability in an environment we know Australians trust.
We want your brands to own the moment
Whether it’s the moment a major story breaks, inspiration strikes, a new trend sets everyone talking, or the entire country holds its breath, nine.com.au owns the moment. We are there for the moments that matter to Australians, and through our sophisticated display and integration capabilities, your brand can be there too.
Hear more about the power of news journalism through Nine Publishing’s ‘The News Effect’ series, featuring editors and journalists from our mastheads.
Source: Ipsos iris Online Audience Measurement Service, Average November 2025 – March 2026, Age 14+, PC/laptop/smartphone/tablet, Text only, Brand Group, News Tier 1 Category, Audience (000s)
SBS confirms FIFA World Cup 2026 broadcast sponsors
SBS has confirmed Hyundai, Hisense, Macca’s, Rexona, bet365, Commonwealth Bank and Youi Insurance as broadcast sponsors for its exclusive coverage of the FIFA World Cup 2026.
The tournament will run from 12 June to 20 July AEST across Canada, Mexico and the United States, with SBS broadcasting all 104 matches live and free on television and via SBS On Demand.
What brands are sponsoring SBS’ World Cup coverage?
The seven sponsors will appear across SBS’ FIFA World Cup 2026 coverage, spanning television, digital, streaming and social platforms.
SBS said the partnerships include bespoke brand activations and commercial integrations designed to connect advertisers with audiences throughout the six-week tournament.
Lee Fifoot, SBS Acting Director of Media Sales, said the calibre of sponsors reflected the scale of the event and SBS’ connection with Australian audiences.
“We’re thrilled to partner with sponsors who recognise the value of connecting with Australians through the biggest FIFA World Cup™ in history.
“Through bespoke activations and innovative, high-impact commercial placements, brands will have the opportunity to engage with the millions of Australians expected to tune in to more than 550 hours of live coverage, highlights, replays and exclusive content across SBS and SBS On Demand.”
SBS leans on CulturalConnect
Kate Young, SBS National Manager, CulturalConnect, said the event gives brands a chance to connect with audiences through SBS’ broader ecosystem and low-clutter environment.
“Football is a truly global sport that transcends cultures and borders, making the FIFA World Cup™ one of the world’s most powerful platforms for brands to connect with audiences,” Young said.
“Through SBS CulturalConnect, we’ve been working alongside sponsors to co-create integrated opportunities across our entire ecosystem – from broadcast and streaming to digital, social and creator-led activations.
“We’re excited by the creativity and ambition our partners have brought to this year’s tournament coverage.”
Coverage begins 12 June
SBS’ coverage will begin with the Opening Ceremony, followed by the first match between Mexico and South Africa on 12 June from 4am AEST.
Australia’s first match is against Türkiye, with coverage starting on 14 June from 1pm AEST on SBS and SBS On Demand.
The FIFA World Cup 2026 will be the largest edition of the tournament to date, with 104 matches played across three host countries.
ACCC takes Amazon to court for failure of safety standards
The ACCC has today commenced Federal Court proceedings against Amazon Commercial Services Pty Ltd (Amazon AU) alleging kids backpacks in its possession or control for sale on its online marketplace failed to comply with mandatory button battery warning requirements.
This is the first Federal Court case brought by the ACCC against an online marketplace alleging non-compliance with mandatory product safety standards.
This is a priority area for the ACCC recognising the rise in unsafe consumer goods available across the economy, facilitated by the increasing scale and reach of digital markets.
“Many Australian consumers now shop on online marketplaces. That’s why it is important that consumers have confidence and trust in digital markets, and for the ACCC to take this action, the first of its kind to come before the Federal Court,” ACCC Deputy Chair Catriona Lowe said.
“Button batteries pose a serious hazard for young children. If swallowed or inserted, they can cause severe internal burns and injury, and in some cases death. These mandatory warnings are there to help keep children safe and businesses must get them right.”
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Unicorn Toddler Backpacks on Amazon
The Unicorn Toddler Backpacks were designed for children and included a detachable light-up unicorn plush toy containing button batteries.
The ACCC alleges Amazon AU had possession or control of the backpacks in Australian fulfilment centres between 22 June and 1 November 2022, and that required warning labels were missing from the products or the plastic outer packaging, which is in contravention of the Australian Consumer Law.
During the relevant period, the ACCC alleges 41 backpacks were purchased by Australian consumers through amazon.com.au. and 267 backpacks were held in Amazon’s Australian fulfilment centres as of 1 November 2022. The ACCC alleges Amazon AU had possession and control of the backpacks as part of its Fulfilment by Amazon services, which includes receiving, storing, picking, packing and shipping items for third party sellers and handling customer service and returns.
Under the Australian Consumer Law, a person must not, in or for the purposes of trade or commerce, possess or have control of goods where the supply of those goods is prohibited, including because they do not comply with mandatory button battery warning requirements.
The ACCC’s case is that this applies to situations where online marketplaces have possession or control goods, in the same way it applies to other suppliers of goods.
ACCC advice to consumers
Button batteries are dangerous to children if swallowed or inserted. They can become stuck in a child’s throat and result in serious lifelong injuries or death. Insertion of button batteries into body parts such as the ears or nose can also lead to serious injuries.
Children up to 5 years of age are at greatest risk because of their narrower oesophagus and tendency to place small objects into their mouths, ears and noses. Preventing access to button batteries is critical.
If you suspect a child has swallowed or inserted a button battery:
Call Triple Zero (000) immediately if your child is having any difficulty breathing.
Call the Poisons Information Centre immediately on 13 11 26. You can call at any hour for expert advice. The Poisons Information Centre can direct you to an appropriate medical facility. Not every health facility can manage injuries from button batteries.
Prompt action is critical.
Do not wait for symptoms to develop.
Do not let the child eat or drink.
Do not induce vomiting.
Further information about button battery safety including a consumer button battery guide.
Top image: Amazon unicorn backpack. Image: ACCC
Journalist slammed for 'racially insensitive' behaviour at Cannes
A reporter at a Cannes Film Festival press conference has sparked huge backlash and accusations of racism after greeting the two white cast members only of the South Korean film Hope – and ignoring everyone else.
Whilst she said hello to actors Michael Fassbender and Alicia Vikander by name, the journalist told the remaining five members of the panel, who had name cards in front of them, “I don’t know the rest of you”.
The woman did not identify herself when it was her turn to ask a question, unlike every other reporter. She did, however, speak with a seemingly Australian accent, which can be heard in footage of her speaking in an official Cannes video (below at 31:46).
The journalist has been informally identified by viewers of the footage and other media outlets as Australian journalist Helen Barlow, who is Paris-based and has regularly reported from Cannes.
Mediaweek has attempted to contact Barlow for comment.
The moment has now gone viral with millions of views – and critics. Because, as etiquette would dictate, no one likes to be made to feel they’re not worth knowing. And, the courtesy to the two white people, in contrast, was palpable.
Asian media did not let the moment pass.
“Opinions are pouring in, labelling the incident as racial discrimination or an exposure of ignorance at a Korean film press conference,” wrote Star News Korea.
The Korea Herald coverage said that the reporter not knowing the names of the panel was “a you problem”.
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Journalist slammed for ‘racially insensitive’ behaviour at Cannes
Online, the reporter’s behaviour was called “rude” and “racially insensitive,” with one person saying, “This lady can’t even remember the director’s name of the film she’s interviewing for, but acts like she’s best friends with the white people working on the film?”
There was also this person, writing from Australia, “Our media has been complicit in the pervasive and ‘casual’ racism we experience every day.”
Another example of the outrage read: “This is just unfunny and embarrassing.”
The reporter had a question for director Na Hong-jin, who she also did not address by name, despite him being world-renowned for directing other major iconic films such as The Wailing.
She asked him if married couple Vikander and Fassbender were a “package deal” in terms of salary.
She said: “Could you have cast both for the fee of one actor? Is it a couple package?”
The question was called out by many on social media for belittling the actors’ work as individuals and professionals.
South Korean movie at Cannes, Hope
Hope is a South Korean science fiction thriller directed by South Korean director Na Hong-jin, a world-renowned director.
It is also the first Korean film to be invited to compete at the Cannes Film Festival in four years.
Finally, to make it clear that the movie is not inconsequential and deserves appropriate recognition, it had a reported budget of more than $46USD million, making it the most expensive Korean film ever made.
Cannes has not issued a statement on the viral incident at this time.
Top image: The South Korean film ‘Hope’ represents at Cannes. Image: X
Nine overhauls nine.com.au in biggest digital shake-up to date
Nine has relaunched nine.com.au, marking the most significant evolution in the platform’s history.
The rebuild transforms one of Australia’s largest digital news, entertainment and lifestyle destinations into what the company says will be a cleaner, more unified platform centred on six core pillars: News, Sport, Lifestyle, Travel, Entertainment and Shopping.
Nine.com.au reaches nearly 10 million Australians every month and currently reaches more than 45% of the Australian internet population. The platform generates 270 million page impressions and 15 million short-form video streams each month.
A cleaner digital destination
The relaunch moves nine.com.au away from a fragmented ecosystem of more than 150 sub-brands and toward a more singular destination for readers and advertisers.
The new homepage has been designed to showcase live blogs, explainers and premium video alongside breaking news.
The relaunch is also supported by a new-look app that rolls 9News into a nine.com.au-branded app. The 9News app will automatically update from today.
The platform will also feature a slate of premium content, including vodcasts, video-led series across the six pillars and social platforms.
Nine on the relaunch
Katie Davies, Executive Editor of nine.com.au, said the relaunch reflects changing needs among audiences and advertisers.
“In an online environment awash with misinformation and AI-generated content, easily-accessible trusted journalism is more important than ever.
“We aren’t just launching a new look; we are defining a new direction that stands for something clear: fast, free, and for you. Australians don’t just want the news – they want to know what it means for their family and where the conversation is going next.”
Marc Dodd, Editor of nine.com.au, said the relaunch gives Nine’s digital newsroom a stronger platform.
“This re-launch will provide a great platform for our amazing team of digital reporters to keep Australians informed and entertained however they choose to consume their news,” Dodd said.
“We know the media landscape is changing quickly – but the desire for trusted, breaking news will always stay the same. And our team is the best in the business at delivering that.”
What changes
As part of the relaunch, 9Honey will be folded into the Lifestyle pillar.
Wwos.com.au will sit under Sport, while still containing Wide World of Sport and Stan Sport branding on the site.
Nine’s existing TV programming sites, including A Current Affair, 60 Minutes, Today, MAFS and The Block, will continue to have their own sites under a TV pillar.
The move to a single domain will also allow Nine to launch focused micro-newsletters for major events, including federal elections, budgets and cultural moments.
Commercial focus
Ashleigh Thomas, Commercial Director, Publishing Sales, said the redesign was built with advertiser performance in mind.
“When Katie and the nine.com.au team looked at redesigning the site, their absolute priority was creating a premium digital environment where brands can truly perform,” Thomas said.
“We’ve built a faster, cleaner user experience that is intentionally engineered to cultivate strong daily habits with our audience.
“By streamlining the UX and extending their time on site, we are giving more meaningful, sustained windows to connect with Australians in a highly receptive state of mind.”
Top image: Nine.com.au
IMAA reveals biggest Pitch-Chella cohort
Independent Media Agencies Australia (IMAA) has announced its largest-ever cohort for Pitch-Chella, with 24 agency teams from across Australia set to take part in the 2026 program.
Now in its third year, Pitch-Chella gives emerging indie agency talent the chance to sharpen their pitching skills, collaborate with peers and respond to a strategic brief for a chosen charity.
This year, teams will pitch a national campaign for anti-bullying organisation, You Can Sit With Me.
A record 24 teams
The 2026 cohort includes 24 teams from 22 IMAA member agencies across NSW, Victoria, Queensland and Western Australia.
Participating agencies include Adtorque Edge, Advertising Associates, Aeon Marketing, Alpha Digital, Audience Group, Bang Digital, Bastion, Campaignifi, Enigma, Hatched Media, Media Republic, Noisy Beast, Reload Media, Slingshot, Speed, Strat, TFM, The Media Store, Thinkerbell, This is Flow, TNT Media and Yango.
The brief
Teams will prepare written pitches for a national media campaign to increase awareness of You Can Sit With Me and build community engagement.
The campaign must position the charity as Australia’s leading voice for kindness, inclusion and belonging in schools.
It will also need to support the organisation’s growth by engaging educators, students, parents and strategic partners, while helping drive school participation, funding opportunities and merchandise sales.
You Can Sit With Me is an Australian charity and inclusion initiative focused on reducing bullying, loneliness and school refusal among children and young people.
Judging and finalists
The written pitches will be reviewed by a judging panel including Audience360 Managing Director Jenny Parkes, TrinityP3 Business Director and Global Media Lead Stephen Wright, Orand Founder Adam Hickey, and You Can Sit With Me Founder and CEO Sophie Sparks.
Entries will be judged on strategic clarity, creative execution, audience insight, innovation and effectiveness. Eight finalists will be announced on Friday, June 26, and will present a virtual pitch to the judging panel on Tuesday, July 14.
Winners will be announced at an awards ceremony at Sydney’s Beresford Hotel on Thursday, July 30.
IMAA on the program
Sam Buchanan
IMAA CEO Sam Buchanan said the response to this year’s program had exceeded expectations.
“We have our largest ever cohort of participants, representing a record number of member agencies from across the country.
“To see this initiative become a widely popular national program, attracting nearly 80 up-and-coming young industry professionals, demonstrates its success in providing professional development and partnership opportunities for emerging industry talent.”
Buchanan said this year’s brief is designed to push entrants to create work with impact.
“Our challenge for this year’s entrants is to focus on pitches that spark something.
“The strongest entries combine creativity with clear strategic thinking, demonstrate genuine audience understanding and have the confidence to challenge convention.
“We’re looking for pitches that have that ‘aha moment’ – it’s about originality, impact and the ability to turn insights into an idea that our judging panel will remember.”
The 2026 Pitch-Chella initiative is led by a steering committee including Lisa Blackshaw from Co.gency and Taylor Fielding from TFM Digital, alongside the IMAA team.
This year’s program is sponsored by the gold sponsor, Audience360, and supporting sponsors: Are Media, Channel Factory, News Australia, Meta, Microsoft Advertising, Snapchat, and Taboola.
Top image: IMAA
Samsung TV Plus Australia adds major new channels
Samsung TV Plus has expanded its free streaming TV service in Australia with new content partnerships across BBC Studios, NBCUniversal, Sony Pictures Television and Amazon MGM Studios.
The rollout takes the platform to 200 channels this month, as Samsung TV Plus reports a 40 per cent year-on-year lift in monthly active users in Australia.
The new partnerships add BBC News and a suite of BBC Studios channels, including BBC Food, BBC Home & Garden and BBC Travel. Samsung TV Plus has also added channels built around 30 Rock and Law & Order from NBCUniversal, the Stargate franchise from Amazon MGM Studios, and four Sony Pictures Television channels.
What channels are launching on Samsung TV Plus?
The Sony Pictures Television additions include Sony One Action Hits, Sony One Comedy Hits, Sony One FAVES and Dragons’ Den.
Samsung TV Plus has also expanded its owned-and-operated channel line-up with the launch of GRIT TV. The new channel will feature action and adventure programming, including documentaries from Ross Kemp.
According to Samsung, the broader content expansion has contributed to a 700 per cent year-on-year increase in viewing time in Australia.
Sam Hall, Head of Content Acquisition and Business Development, Samsung TV Plus, ANZ and South East Asia, said the growth reflected changing viewing habits in Australian homes.
“More than a third of Australians who buy a new Samsung TV choose not to connect an antenna,” Hall said.
“Free streaming TV is where the viewers are heading in droves. Studios are finding entirely new ways to connect directly with viewers in their living rooms, at a scale that continues to grow.”
Samsung Ads’ connected TV play
The announcement comes as Samsung Ads continues to position its smart TV advertising products around connected audience data across linear, streaming and gaming.
Samsung Ads, which launched in the US in 2015, now operates across North and Latin America, Europe, South Korea, ANZ, Southeast Asia, and India. The business is a division of Samsung Electronics.
Top image: Samsung TV Plus
News Australia launches EOFY campaign with news.com.au Checkout
News Australia has launched its end-of-financial-year retail campaign, Spend Smart Save Big, anchored by news.com.au Checkout and featuring a series of new content formats across its publishing network.
The campaign launches today across news.com.au, The Daily Telegraph, Herald Sun, The Courier-Mail, The Advertiser, Vogue Australia, GQ Australia, Taste.com.au, Body+Soul and Escape.
According to News Australia, news.com.au Checkout has curated up to 8,500 deals across technology, home, beauty, travel and fashion categories for the EOFY sales period.
New formats added
This year’s campaign includes three new formats: Spend Smart, a video series featuring Checkout contributors; a live deals blog; and GEO content designed to surface Checkout recommendations in AI search results.
The formats will sit alongside existing campaign elements, including buying guides, newsletters, SMS deal alerts and a live deals ticker across news.com.au and News Australia’s state mastheads.
Building on 2025 results
News Australia said the 2025 campaign generated $5.4 million in sales for brand partners, up 38% year-on-year, as well as 1.2 million clicks, up 16%, and 14 million page impressions.
News Australia General Manager, eCommerce Sophie Miura, said EOFY remained an important retail period for consumers and brands.
Sophie Miura
“With Australian households adjusting their spending due to cost-of-living pressures, EOFY has never been more important for consumers or for the brands trying to reach them. Australians aren’t looking for more noise. They want someone they trust to tell them what’s actually worth their money.
“Our editors have done that work, hand-picking up to 8,500 deals and verifying key offers so shoppers can spend with confidence, converting high-intent browsers into buyers,” she said.
The four-week campaign is supported by marketing activity across digital, print, social, audio and video channels.