After months of speculation, Network 10 has officially announced the cancellation of The Project.

Ten has announced that the final episode of The Project will air on 27 June, with over 4,500 episodes of the show having aired in what was nearly a 16-year run for the show.

A new one-hour national news and current affairs show will launch at 6pm, with Deal or No Deal moved to a new 7pm timeslot. The one-hour 5pm local news bulletins will continue on the schedule.

Ten is not confirming any details about the new one-hour news program, however it is believed that former 7 News reporters Amelia Brace and Denham Hitchcock will be involved in the show. Last week in an interview with Mediaweek, Martin White, Vice-President of Broadcast News at Ten, confirmed their hire and advised that “They will both be developing ideas for 10 News with Dan Sutton”.

In recent weeks Ten has been actively recruiting for staff for its news division, with roles including Senior Journalists, Digital Producers, News Producers, and Graphic Artists.

Current hosts of The Project Waleed Aly, Sarah Harris, and Hamish Macdonald are believed to be leaving the network.

In a statement from Ten, the network emphasised the strength of The Project as a news problem and the resonance it had with the Ten audience: “The recipient of 11 TV WEEK Logie awards and one Walkley award, The Project led the way with thought-provoking and unique conversations on primetime television covering a myriad of topics including marriage equality, animal welfare, disability awareness, NDIS, and domestic and family violence.

“The show has successfully balanced humour and heart with poignant discussions about current affairs and celebrity interviews that had the whole country, and sometimes the world, talking.”

Craig Campbell, Creative Director, Roving Enterprises & Creator Of The Project said: “16 years ago I could not have dreamed that our entertainment company’s take on the day would become part of a grown-up news cycle.

“We have launched campaigns, raised lifesaving cash for those that needed it, shone a light on people who deserved to be seen and hopefully made people smile and believe in the importance of a positive message.

“The show has also been the prime-time destination for countless Australian actors and musicians, and I am proud we have been here as a showcase for the entertainment industry.

“We have an extraordinary team making this show every day and I know this news will hit them hard. It’s been a privilege to work with them and the hundreds of others that joined us along the way.”

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9News’ US correspondent, Lauren Tomasi, has reassured audiences she is “a bit sore, but okay” after being struck by a rubber bullet while reporting live amid violent protests in downtown Los Angeles.

The projectile, believed to have been fired by law enforcement, hit her in the leg.

Despite the injury, Tomasi emphasised the importance of continuing to tell critical stories unfolding on the ground.

Hey there. Thanks for all your messages – I’m a bit sore, but I’m okay. Important we keep on telling the stories that need to be told. Here’s our report on what unfolded in Los Angeles. pic.twitter.com/S8AvjQuFA7

— Lauren Tomasi (@LaurenTomasi) June 9, 2025

Frontline risks: journalism under fire in a volatile environment

The incident occurred just moments after Tomasi finished a live cross to Australia, as police confronted demonstrators near the city’s metropolitan detention centre.

Nine later confirmed that Tomasi and her camera operator were safe and will continue their essential work covering these events.

“This incident serves as a stark reminder of the inherent dangers journalists can face while reporting from the frontlines of protests, underscoring the importance of their role in providing vital information,” the broadcaster wrote in a statement.

Lauren Tomasi on the scene of the LA Protests

A city divided

The unrest in Los Angeles was sparked by a wave of federal immigration raids carried out under the direction of former President Donald Trump.

What began as scattered demonstrations quickly grew into mass protests across the city, as communities rallied against what many saw as a show of force targeting vulnerable populations. Tensions escalated after Trump deployed National Guard troops to the area, a move California Governor Gavin Newsom sharply criticised as unnecessary and inflammatory.

Demonstrators clashed with heavily armed police and federal officers over the weekend, prompting authorities to declare several gatherings “unlawful assemblies.”

The protests have since intensified, with flashbang grenades, tear gas, and rubber bullets used to disperse crowds. Arterial roads, including the 101 Freeway, were blocked, and several vehicles were torched amid the chaos.

While Trump labelled the demonstrators “troublemakers and insurrectionists,” critics argue that the government’s heavy-handed approach has fuelled the very instability it claimed to prevent.

Lauren Tomasi after being shot on the scene of the LA Protests

Local call for answers

Greens Senator Sarah Hanson-Young has urged Prime Minister Anthony Albanese to demand answers from the White House following the incident which she has described as “deeply alarming”.

Hanson-Young, who serves as the Greens’ media and communications spokesperson, said it raised serious questions about press freedom and the safety of foreign correspondents.

She called for Albanese to address the matter directly in his upcoming meeting with President Trump, insisting that the United States must be held accountable when journalists are harmed while doing their job. “Protecting media workers is not optional, it’s a democratic obligation,” she said.

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John Shakespeare, whose illustrations shaped the pages of Australian journalism for nearly four decades, passed away on Monday evening after a battle with cancer. He was 63.

His loss has left a deep impression on the media landscape, especially at The Sydney Morning Herald, where he spent the bulk of his career.

Shakespeare is survived by his partner, Anna-Lisa Backlund, and their son, Lukas.

As Jordan Baker writes in The Sydney Morning Herald, while many readers knew him for the whimsy and sharpness of his illustrations, his colleagues knew him as “Shakes”, a quiet, warm presence in the newsroom who blended technical mastery with gentle wit.

For 39 years, he contributed artwork that captured both the absurd and the profound, often in the same stroke.

Shakespeare joined Fairfax in 1985 after starting his career at Brisbane’s Courier Mail, where a role fixing photocopiers led to a creative job in the art room.

When The Sydney Sun closed, he was moved to The Sydney Morning Herald and tasked with caricatures rather than political cartoons. It turned out to be a perfect fit. Shakespeare developed a signature style that balanced satire with a deep sense of humanity.

He remained with the Herald until 2023, when he took a voluntary redundancy.

His legacy includes thousands of illustrations: from budget spreads and political portraits to farewell caricatures of colleagues.

Shakespeare remained a perfectionist to the end, constantly refining his work and questioning his ideas.

In an interview with the Queensland Law Society‘s Proctor newsletter, he explained: “The process of creating a funny cartoon can be quite excruciating. I actually don’t enjoy that part. Once I have the idea, I can relax a bit and draw it, which I enjoy.”

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For all its creative edge and cultural influence, the media and advertising industry has long struggled to accommodate working parents.

A recent survey from not-for-profit group The Village revealed that 70% of parents in media have considered leaving the sector entirely, a data point that’s less about personal burnout and more about systemic failure.

In response, Publicis Groupe ANZ is moving beyond surface-level slogans to roll out tangible support, aimed at retaining and empowering one of the industry’s most vital (and vulnerable) talent groups: caregivers.

Making care visible at work

Central to Publicis Groupe’s renewed people-first strategy is its Carers Collective, a new employee action group.

The initiative is designed to give visibility, support, and practical solutions to the diverse cohort of carers within the network, whether they’re parenting young children, navigating elder care, or juggling both.

“I feel extremely motivated to be the first lead of this group,” Alysha Maybury, Activation Director at Spark Foundry and Carers Collective lead told Mediaweek. “Ensuring all carers feel heard and supported is something I’m deeply passionate about.”

While the group celebrates strong existing policies for returning parents, its broader focus is on supporting employees caring for ageing parents, siblings, pets and everyone in between.

“You shouldn’t have to be two different versions of yourself. You are free to show up at work as you are,” Maybury added.

Davy Rennie, CEO of Digitas Australia and Executive Sponsor of the Carers Collective said he sees this as a necessary evolution: “You’ve got your personal aspirations, career aspirations, and then there are your aspirations as a parent. It’s a tricky balance, and it’s something we’re very much focused on.”

For Rennie, this isn’t just theory.

He shares a candid moment from a recent workday: “I got to my son’s school and realised I had sunblock all down my leg because his bag had burst. I had to run straight into a meeting. But that’s the point, these moments happen. We have to create space for people to ask for help and show up, sunscreen and all.”

This view is echoed by Jessica Farrell, GM of People & Culture at Publicis Groupe ANZ, who stresses the importance of leaders modelling these realities. “When I need to work from home due to a family emergency or sick kids, I say so out loud. It shows people these aren’t exceptions, they’re normal.”

Turning strategy into structure

These values are reflected in the group’s wider work model, Publicis Liberté, which encourages employees to “work your way, with us.”

For Maybury, this translates to practical day-to-day flexibility: “I can leave work early or work from home to be there for my boys. My manager never questions where I am or why I need to leave. The trust works both ways.”

Other initiatives include Cub Care, which offers five additional leave days to both primary and secondary carers, and a Secondary Carer Swap benefit, allowing parents to change caregiving roles within nine months of a birth or adoption.

Publicis Groupe’s efforts have earned it Family Friendly Workplaces certification, external recognition of its commitment to supporting work-life integration.

“We know that over 40% of our workforce identifies as parents or carers,” said Farrell. “Our DEI survey tracks who our carers are and how supported they feel, by their manager, their agency, and by Publicis.”

Farrell points to her own experience, being promoted shortly after maternity leave, despite working part-time and living on the Central Coast, as an example of what genuine support can look like.

The goal isn’t to fix everything overnight, but to create meaningful, structural change that supports employees across life stages.

“We want to build a workplace that celebrates and normalises caregiving,” said Rennie. “Retention is critical. It’s about smooth re-entry from parental leave and a culture that listens.”

A business case for belonging

There’s also a commercial logic underpinning these moves.

In an industry where talent churn is high and competition fierce, building a culture that supports life experience isn’t just good ethics, it’s good business.

For Farrell, it all comes down to accountability and legacy. “When I leave this business one day, will I be proud of the legacy I’ve left?” she asks.

“That legacy starts by putting the right policies in place, having the right leaders around the table, and holding everyone, ourselves included, accountable for creating inclusive environments.”

Meanwhile for Maybury, who’s spent her decade-long career at Publicis across two continents, two maternity leaves, and countless personal milestones, the approach has been a lifeline.

“The autonomy I’ve been given to perform my role while caring for my children has been invaluable. The leadership team at Spark Foundry and my direct team know that my family will always come first, and they support me every day.”

As media organisations grapple with how to retain talent and build cultures that reflect the world outside their office walls, Publicis Groupe’s approach may offer a blueprint.

Sure, it’s not a quick fix. But in embedding family-conscious strategies into the DNA of its network, the group is making a clear bet: that supporting working parents isn’t a burden… it’s a business imperative.

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For women in media, the mood has shifted: from hopeful to hardened.

Despite years of reporting, reform, and rhetoric, a new national survey reveals most women working in Australian media are still not seeing real change.

Instead, they’re hitting breaking point.

The Women in Media Industry Insight Report 2025, released this week, finds dissatisfaction among women in media has climbed to 59%, the highest level recorded in four years.

Nearly one in three are considering leaving their jobs. More worryingly, nearly half are weighing up leaving the industry altogether.

Behind the data lies a growing sense that promises aren’t translating into progress.

“We now have the policy settings in place,” Petra Buchanan, the report’s lead author and strategic advisor to Women in Media, told Mediaweek.

“We have employers and industry coming to the party. But it’s the disconnect that is fuelling the dissatisfaction. They’re seeing the transparency, but they’re not seeing the on-the-ground change.”

The pay gap remains the dealbreaker

Pay equity has now overtaken all other concerns for the second year running. Nearly 30% of respondents identified inadequate pay as their main reason for wanting out, more than double those citing workplace culture, career stagnation or safety.

And the problem isn’t perception, it’s structural.

While women make up 41% of the media workforce, they hold only 23% of top executive roles. The sector’s average gender pay gap sits at 10%, ballooning to 16.4% in publishing and 11.8% in broadcasting.

Buchanan believes many organisations have adopted a compliance-first mentality, ticking boxes without meaningful engagement.

“I think there’s a bit of a tick-and-forget exercise when it comes to HR policies,” she says. “It could be that email I didn’t read. But that’s not good enough, right? We need to go beyond that and ask: how do leaders talk about this? What does this actually mean in the workplace?”

She says leaders must shift from meeting obligations to making intentional change: “not just the obligatory message from the HR department.”

Reforms aren’t reaching the floor

Although significant reforms like WGEA’s pay transparency laws and Respect@Work have been introduced, 74% of women say their employer has either failed to act on pay inequality or hasn’t communicated any action.

A further 78% say they’ve seen no real cultural improvement in their workplace.

This is where Buchanan says many companies are falling short: “We need organisations to step up and be better communicators,” she says.

“They also need to make commitments to real talent pipelines, supporting women so they’re not just put into leadership roles, but that they’re set up to succeed.”

The lack of visibility around action is a trust issue, Buchanan warns.

“Trust is a huge issue,” she says. “We’ve seen the Edelman Trust Index over the years, trust in institutions, media, government, all in decline. And in that kind of environment, companies have to work harder to gain the trust of their employees.”

What good leadership looks like now

In her view, the solution isn’t a mystery, it’s just not being taken seriously enough. Buchanan is clear: “Let’s stop stating the problem and start taking really progressive steps towards the solutions.”

She says there’s precedent to follow. “In the UK, they started ahead of us in terms of gender pay gap reporting. They’re seeing change, and we will too. But it has to be intentional. Employers need to really reflect and communicate. Their leaders need to articulate, not just comply.”

That means rethinking how reforms are rolled out internally.

“Respect@Work is not just a legal obligation. It’s a conversation, from leadership right through to line managers, about the kind of culture we want here. And it has to be more than a poster or a policy on the intranet.”

The retention crisis no one can afford to ignore

At its core, the data paints a troubling future: one where the industry risks bleeding talent at every level. Buchanan says the deeper issue is that women don’t feel seen, heard, or valued.

“When you go back to the broader issues in this data, it’s clear women are looking to leave because they’re fundamentally not feeling valued,” she says.

“And in an industry already grappling with trust, audience fragmentation, and misinformation, that kind of attrition is a reputational risk.”

She believes employers who act now have an opportunity to lead.

“The ones that act early, do this well, implement and show progress, they’re the ones that are going to build a reputational advantage and retain talent,” Buchanan says.

“That’s where the opportunity sits.”

An industry call to action

The report outlines four immediate recommendations: commit to real transparency around pay and pathways; improve promotion structures; maintain focus on reform and culture; and significantly lift the number of women in leadership.

To that end, Women in Media has launched a national leadership program, and is calling on media companies to put women forward for it.

“We’re actively asking industry to come with us,” Buchanan says. “We’re ready to train those women and support them so they are absolutely ready to embrace those roles, and thrive in them.”

Because while policies are finally in place, the time for passive support has passed.

“It’s not going to be a slam dunk,” Buchanan says. “But we’ve got transparency, we’ve got the reforms, and now, we need bold leadership.”

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Bupa has launched ‘Health Stories’, a new global campaign aimed at breaking down the barriers that prevent people from talking about their health.

The reluctance of people to open up about health is a global issue across countries, cultures and socio-demographic groups. But speaking up about health concerns can help people access medical and emotional support earlier, reduce feelings of stress and isolation, and can lead to improved outcomes.

Developed in partnership with creative agency Redwood@AMV, the international healthcare company’s campaign invited six people on their own unique health journeys to share the moment they first opened up about their condition.

The campaign offers intimate insights into life-affirming stories of personal courage, resilience and triumph, exploring how talking about physical and mental health can have  transformative long-term positive effects. These include navigating chronic conditions like Crohn’s disease and endometriosis, living with ADHD or limb difference, and surviving cancer – alongside a powerful account from Black Ferns international rugby player Ruby Tui on mental health.

The launch comes as new research from Bupa reveals that 82% of people believe that talking about health experiences can support physical and mental health. Despite this, nearly one in two people (49%) say they have avoided addressing a health concern. Of those, over a third (39%) did so because they didn’t think it was serious, or were unsure if they needed a healthcare professional, and a quarter (24%) due to embarrassment or stigma.

Shot by award-winning documentary film maker Dorothy Allen-Pickard, the aim of the films is to drive awareness and spark new conversations about health around the world.

The campaign will reach millions of people, featuring a TikTok takeover, CTV and YouTube spots and a Condé Nast partnership.

Fiona Bosman, Global Brand Director at Bupa, said: “Through Health Stories, we set out to show people the power of talking about health. Change comes through inspiring storytelling, which is why we chose to tell the stories of real people across a range of different health conditions.

“Through these personal, first-hand accounts we hope to encourage a global movement, where sharing health experiences becomes part of everyday life.”

Dan Jude, Executive Creative Director at Redwood@AMV,said: “Health Stories is more than a campaign – it’s a call to arms to give people the inspiration to start talking about health.

“I know from personal experience how much sharing about health can help when times are tough – so I hope these films are able to support people in their own journeys, whatever they look like.”

Agency: Redwood@AMV London
Redwood@AMV credits:
Executive Creative Director: Dan Jude
Senior Creative Directors: Paul Dixon & David Boa
Business Director: Holly McCue
Senior Project Manager: Vii Vaghela
Production company: Omnicom Production
Producer: Paris Palmer
Post Producer: Helen Glover
Director: Dorothy Allen-Pickard
Director of Photography: Jo Jo Lam
Production Designer: Marianne Auvinet Gould
Stylist: Amy Thompson
Editor: Meg Thorne (Magic Edit)
Sound: Alex Wells
Colourist: Simon Bourne (Company 3)
Casting: Katie Moriarty-Hopper
PR agency: Pretty Green

Bupa credits:
Brand Director: Fiona Bosman
Heads of Brand: Shin-Tsyi Yang, Sonam Patel

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Mark Read will retire from the Board and as CEO of WPP after more than 30 years with the company, as of 31 December 2025.

Read has decided that the time is right for him to hand over to a new leader and the search for a successor is underway.

He said: “WPP is an incredible company with over 100,000 talented and creative people, wonderful clients and partners, and an unmatched presence around the world. It has been an immense privilege to serve as its CEO for the past seven years.

“When I took on this role our mission was to build a simpler, stronger business, and put structure and new energy behind our creativity and performance, powered by world-leading technology.

“I am proud that our teams across the business have delivered that exceptionally well. Our clients today rate us more highly than ever before, we now work with four of the world’s five most valuable companies, and our revenues with our biggest clients have grown consistently.

“Our business starts with creativity, and I was delighted for our teams that last year we were once again named Creative Company of the Year at Cannes Lions.

“We have also positioned WPP at the forefront of the industry with our investments in AI and, with the full launch of WPP Open this year, we are now leading the way as AI transforms marketing. We have an exceptional leadership team and a secure financial position that allows us to face the future confidently and capture the opportunities ahead.

“After seven years in the role, and with the foundations in place for WPP’s continued success, I feel it is the right time to hand over the leadership of this amazing company.

“I am excited to explore the next chapter in my life and can only thank all the brilliant people I have been lucky enough to work with over the last 30 years, and who have made possible the enormous progress we have achieved together.

“I would also like to thank Phil and the rest of the Board for their steadfast support for me and the wider executive team, and I look forward to supporting them in the transition to my successor in the coming months.”

On behalf of the Board Philip Jansen, Chair of WPP, thanked Read for his contributions to the company for over 30 years as a leader, seven of which as CEO.

“During that time Mark has played a central role in transforming the Company into a world leader in modern marketing services, with deep AI, data and technology capabilities, global presence and unrivalled creative talent, setting WPP up well for longer-term success.

“We are pleased that Mark will continue to lead WPP as CEO until the end of the year, remaining focused on the execution of the Company’s growth strategy and supporting a smooth transition to his successor, once appointed.”

Read’s retirement from WPP comes after he he lead the global return to office policy at the start of the year.

“I believe that we do our best work when we are together in person. It’s easier to learn from each other, it’s a better way to mentor colleagues starting out in the industry, and it helps us win pitches as a truly integrated team,” he said at the time.

The holding company’s concerned employees hit back at Read and the global directive to return to the office four days a week with a Change.org petition. The staffers called the company’s mandate a “step backwards in supporting employee wellbeing and work-life balance” and called out the advertising company for “citing anecdotal data that either does not exist or has been misrepresented.”

While debate over the return to office policy simmered down, WPP made recently headlines after the holding company officially replaced GroupM with WPP Media as it embraces its position as a fully integrated, AI-powered media company.

Read said at the time: “The move to WPP Media continues our strategy to simplify and integrate our offer for clients. While GroupM was built for a time when media scale mattered most, WPP Media reflects the power of AI, data and technology and simpler, more integrated solutions.”

Top image: Mark Read

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Lexlab has promoted Maija Gwynn from Head of Digital, to General Manager.

Gwynn brings more than 25 years of digital advertising experience to her new role and her promotion recognises her leadership with the Melbourne-based independent digital advertising agency, and her role it in its evolution and client growth as the company plans to expand in the Asia Pacific.

She brings more than 25 years of digital advertising experience to her new role, having held senior positions in sales, strategy, client-side and operations at a variety of multi-national companies.

Gwynn joined Lexlab in 2019 as Digital Manager and was instrumental in shaping the agency’s client-first approach, emphasising channel agnosticism and ethical media practices. She spearheaded the development of Lexlab’s proprietary campaign measurement and dashboard tools, which prioritised privacy-complaint strategies, ahead of industry-wide shifts.

She has also been recognised in the industry for her advocacy work for gender equity in tech and her contribution to mentorship programs addressing Australia’s digital skills gap. Gwynn has also been a panellist at IAB Australia events, focusing on sustainable advertising practices and publisher-audience alignment.

Lexlab Founder, Alfie Lagos, said: “This role is a significant step in Maija’s impressive 25-year media career, marked by her ability to grow and innovate with our industry. Maija has been a key part of Lexlab’s growth from almost the beginning, always leading from the front with consistency, expertise and a genuine passion for what we do.

“She sets the standard through her work and the trust she builds with both the team and our clients. Her deep understanding of digital advertising, her technical expertise, and her clear, hands-on leadership style make this promotion a natural next step.

“Maija will now be able to refine the direction of Lexlab in her own image, driving the business forward and maintaining our incredible growth and trajectory,” he added.

Gwynn said of her promotion: “It’s exciting to take this next step in my career with Lexlab. For the past six years, I’ve been deeply involved in the agency’s operations, client strategy and innovation roadmap, working closely with our clients to drive results.

“This new role is an opportunity for me to have a bigger role in shaping Lexlab’s future, empowering the team, while also focusing on the business’ growth, particularly in the APAC market. I’m looking forward to working on new projects and initiatives as we focus on enhancing the Lexlab offering.”

Lexlab specialises in agency media partnerships to drive paid advertising results clients include IGA, Energy Australia, Caterpillar, Cancer Council, Mister Zimi and McCain, to use its proprietary planning tool Lablogic’s live industry data and benchmarks to deliver real results. Lexlab has also partnered with several film distributors for multi-channel campaigns to support new releases.

Top image: Maija Gwynn

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72andSunny Sydney has unveiled its new leadership team as Ross Berthinussen departs the agency after six years, to return to his native UK.

Replacing Berthinussen as Managing Director is Sophie Sykes, who joins from Howatson+Company where she was client partner and the agency’s third employee.

Alexandra Nel joins in the newly created role of Executive Strategy Director having previously overseen Telstra as Head of Strategy at +61. Prior to that, she held roles at TBWA/Australia and Leo Burnett.

The new leadership team structure comes at a time of momentum for the agency, with recent wins including Big W, AFL, Cadillac, and Princess Cruises, plus the recent hiring of Wez Hawes as CCO, a new look creative department, and a move to a new larger studio space in The Rocks.

Chris Kay, International President overseeing all 72andSunny’s International offices, said: “After 7 years in Sydney it’s awesome to see the continued impact of our brand as we build for the next stage of cultural impact. Modern Australia needs a new generation leadership team who are here to play to win, and Sophie, Alex, and Wez are exactly that and the future looks sunny.”

Both Sykes and Nel join in the coming months reporting to Kay and newly appointed International Executive Strategy Director Maria Galleriu.

Together with Hawes, the trio will take 72andSunny Australia into the next stage of its evolution, doubling down on the agency’s core DNA of Optimism and growing the business organically with a strong mix of current clients including Google, REA, Stake, and Deputy.

Hawes said: “To continue the trajectory 72andSunny is on right now, we knew we had to swing big and I couldn’t be more excited by the impending arrivals of Sophie and Alexandra. They both have a wealth of experience and proven track records in creating modern, culturally impactful work, while also being instrumental in building the agencies that create it.”

Galleriu added: “There’s creative power in new chapters. We’re bringing in two leaders who have heart and passion for unlocking what the 72andSunny brand of strategic and creative excellence can do next in the ANZ market. The possibilities are endless when you dream big like they do.”

Berthinussen played a key role in creating a strong platform for growth and continued momentum for 72andSunny, winning key business from REA to Who Gives A Crap to Big W, and a slew of industry and trade media recognition. He leaves to return to the UK for 12 months to train to be a coach with a specific focus on conscious leadership.

Berthinussen said of his departure: “I’m super grateful for my time with 72andSunny. I’ve learned so much and loved experiencing first-hand the rocket fuel of running a creative company powered by a belief in Optimism.

“I’m stoked to hand over to such an all-star team and can’t wait to see where Wez, Alex and Sophie take 72andSunny with our team of legends and wonderful client partners.”

Kay added: “Ross has been a strong driver of our core value of optimism at 72andSunny. He’s also been a key leader laying the foundations for this next stage of growth and for that we have immense gratitude and respect.

“He’s helped build something that is special, and we are excited to see him go onto his next life chapter. From everyone at 72andSunny, we wish him, and his family, all the best back in the UK.”

Hawes added: “It’s been an absolute pleasure partnering with Ross. He’s one of the smartest and most compassionate modern leaders I’ve ever had the pleasure of working with. If optimism is our superpower at 72andSunny, it’s leaders like Ross, and now Sophie and Alexandra, who help to turbo boost it.”

Top image: Sophie Sykes, Alexandra Nel and Ross Berthinussen

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Following months of speculation, Warner Bros. Discovery has announced plans to separate the company into two publicly traded companies.

The Global Networks company will take most of the legacy linear properties and their digital off-shoots. This includes cable TV networks like CNN, TNT Sports, and Discovery (inclusive of Discovery+), and free-to-air channels owned by WBD across Europe. It will also include sports-focused digital property Bleacher Report.

The Streaming & Studios company will include all of Warner Bros. Television, Warner Bros. Motion Picture Group, DC Studios, HBO, and HBO Max. It will also own the highly valuable film and television libraries.

It will be another year before the deal is finalised, expected by mid-2026.

In Australia, Discovery channels are currently carried by Foxtel and Fetch TV, with CNN available on Foxtel’s services. It launched Max in Australia in March 2025 and maintains robust TV and movie library sales across the market. Upcoming theatrical releases will include Superman in July.

The newly split companies have not yet been named. David Zaslav, current President and CEO of Warner Bros. Discovery, will be appointed President and CEO of Streaming & Studios. Gunnar Wiedenfels, current CFO of Warner Bros. Discovery, will be President and CEO of Global Networks.

Both will continue in their existing until the separation.

The news of the split was initially met with a very positive reaction by Wall Street, with an immediate stock spike taking it up over a dollar to $10.86, but by the end of trade the value had fallen to $9.53 per share.

“The cultural significance of this great company and the impactful stories it has brought to life for more than a century have touched countless people all over the world. It’s a treasured legacy we will proudly continue in this next chapter of our celebrated history,” said Zaslav. “By operating as two distinct and optimized companies in the future, we are empowering these iconic brands with the sharper focus and strategic flexibility they need to compete most effectively in today’s evolving media landscape.”

“This separation will invigorate each company by enabling them to leverage their strengths and specific financial profiles. This will also allow each company to pursue important investment opportunities and drive shareholder value,” said Wiedenfels. “At Global Networks, we will focus on further identifying innovative ways to work with distribution partners to create value for both linear and streaming viewers globally while maximizing our network assets and driving free cash flow.”

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Kyle Sandilands is no stranger to shock moments (delivering and receiving them) but his 54th birthday surprise on The Kyle & Jackie O Show this morning may have truly blindsided him.

In a move that blended clever radio theatre with timely media commentary, the KIIS FM team invited none other than Steve Price, his long-time arch nemesis and former The Project panellist, into the studio for a face-to-face confrontation.

The encounter was orchestrated by show producer Peter Deppeler, better known as ‘Intern Pete’, and while fans had speculated about everything from luxury gifts to live animals, few anticipated a sit-down with one of Kyle’s most outspoken detractors.

From feud to fragile truce

Price, who admitted he was paid “a lot of money” to appear on the show, didn’t waste time getting into character.

“The grubby buffoon himself,” he quipped as he greeted Sandilands. Kyle returned fire instantly: “How did they get you involved in this rubbish?”

Their past disagreements, particularly around media coverage and ratings wars, came bubbling back to the surface. But this time, something shifted.

Jackie O took the mediator role, pushing the pair to air out their long-standing grievances. Kyle recounted feeling let down after publicly defending Price during a previous controversy, only to receive criticism from him later.

Price, on the other hand, accused Kyle of leaning too heavily on shock humour, especially if the aim is to make inroads in more conservative Melbourne markets.

Still, despite the pointed barbs, there was a sense the pair had hit pause on the feud. Even the insults carried a thread of mutual recognition. As Price conceded, “He’s an extraordinary talent.”

The Project cancellation looms large

While their showdown was ostensibly about old grudges, it couldn’t have come at a more symbolic time.

Price had just exited The Project, following Network 10’s confirmation over the weekend that the long-running current affairs program will not return in 2025.

The show’s cancellation marks the end of a 15-year run, with dwindling ratings and shifting viewer habits cited as key reasons behind the decision.

Sandilands, never one to pass up an opportunity, brought up the topic with gusto. “What happened at The Project? When did this happen? Because we’ve heard these rumours forever. And now it’s true?”

Price reminded him that while rumours may have circulated, the human cost was real. “Eighty people lost their jobs yesterday,” he said, pointing to the broader implications of the show’s demise.

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P.J. Hogan is panicked.

The acclaimed director of Muriel’s Wedding is gearing up to attend a special screening of the film. The only problem is, he wasn’t aware it would be a carpet occasion.

“Oh, shit. Now I’ve got to figure out what I have to wear,” Hogan laughed to Mediaweek the day before the event.

“Thank you for telling me that. All right, no worries.”

It’s this unpretentious, distinctly un-Hollywood attitude that’s allowed Hogan to keep tapping into the deeper recesses of the human experience, giving us some of the most memorable characters and stories to hit the screen.

In this in depth chat, Hogan revealed to Mediaweek the arduous process of getting the movie off the ground, doubts on set, Toni Collette’s raw magnetism, and a character who, long before social media, showed us what it meant to curate a life from the margins.

Just don’t call him likeable.

Mediaweek: Did you always know Muriel’s Wedding would be a success?

Hogan: Nothing could be further from our minds. I was actually convinced at the time that nothing was working. It wasn’t an easy film to make, and nobody wanted to make it. We shopped the script around for years, and we had been rejected by pretty much everybody in this country and overseas.

All the usual suspects that the producers sent the script to turned it down, and they all said the same thing: nobody was interested in a story about this girl because, as written, she’s a liar, hates herself, and steals money from her family.  You know she’s, she’s not. She’s not a…

Mediaweek: …likeable protagonist?

Hogan: As a filmmaker, one of the terms I hate most is likeable. They always ask that question whenever you send out a script or receive one. As a filmmaker, one of the terms I hate most is likeable. They always ask that question whenever you send out a script or receive one.

I mean, even on My Best Friend’s Wedding, which I really liked the script of that, and the studio was set to make it because Julia Roberts wanted to do it, but they kept saying, ‘you’ve got to make her more likeable’. But likability ultimately leads to blandness, and I think that for me, I don’t really care too much about whether or not a character is likeable.

I want the audience to understand them, and even at their most unlikable moments, if they understand them, they might even see themselves in the character.

Mediaweek: How hard was it to get the cast over the line given most of the actors were relative unknowns?

Hogan: Well, that was the other thing, nobody wanted to make it unless it was cast with better-known actors. Someone even suggested offering it to Liv Tyler, saying she could play the role if she had her hair up and wore glasses. These were the things that people were telling us. And, well, that’s actually not what the story is because if she looked like Liv Tyler, she wouldn’t have a problem.

Mediaweek: With all that pushback, how did you eventually get the film made?

Hogan: Well, it was a miracle. We eventually did get some money from a French company, CiBy 2000, which was the one company that believed in the idea.  Then, when we managed to scrape together the rest of the money, we could return to the Film Finance Corporation Australia (AFF).  So we all went into it thinking this is obviously a risk.

Mediaweek: What about when filming started?

Hogan: Oh yeah, even when we were shooting that word ‘likeable’ kept ringing in my head almost every day on set and then when I looked at the rushes, I remember thinking ‘well, that’s not likeable’ (laughs). But at the time, what I didn’t see was that Toni Collette just radiates on screen.

Mediaweek: Talk to me about Toni.

Hogan: Oh, she’s a brilliant actress, and she just had a way of taking you into the character, you know, right beneath the skin of the character.

Toni managed to make the audience understand why Muriel was doing these horrible things, even if the character couldn’t explain it to herself, and that was really the key.

Also, I think because Muriel was so unlike any other character who’d been on film, particularly in a lead role and as the central focus of the story, that in itself was exciting to an audience.

Mediaweek: What was it like when you first discovered Toni?

Hogan: Well, she was so ready for a role like this. At that stage, she had only played supporting roles and a few stage roles, but from memory, she had been struggling for a while.

I think she’d felt as though she may as well give up on ever getting a break like this, so when it came along, she just understood Muriel. More than that,  she was just so hungry to play Muriel was and still is the poster child for the rejected, the under appreciated, and the misunderstood in the world.

It was much the same for Rachel (Griffiths – who played Rhonda Epinstalk). There just weren’t roles available for their scope of talent. So when these roles came along, they gave it everything. It was amazing to see.

Mediaweek: What about the entire casting process?

Hogan: We worked a lot in TV, and we knew a lot, a lot of actors from the various experiences in Australian television, and we knew there were so many actors there who just never got past the first audition, or who weren’t seen at all. Myself and Jocelyn Moorehouse (Hogan’s real-live wife) wrote characters in Muriel’s Wedding that were difficult to cast.

I based many of the characters on people I knew from back when I was growing up on Coolangatta.

I’d written to these people, and I knew them, and therefore I knew the type of actors I was looking for. And there weren’t many that came in that were right, but when they did come in, we just knew. For example, when Dan Wiley walked through the door and read to Perry, I stopped looking because I thought, ‘Oh, that’s Perry. ’ That’s the thing you look for in casting. I try never to stop until I absolutely know this feels right.

Mediaweek: What happened when the film came out?

Hogan: The film was made so long ago that back then, the Australian film industry didn’t even test movies. So, there was no such thing as previews.

But just as we were getting towards the final cut, our producer submitted it to the Cannes Film Festival, and we were accepted. And so we thought, maybe we’ve got something.

Mediaweek: What was it like seeing the film screen at Cannes?

Hogan: Well, it was actually the very first time I’d ever seen it in a theatre with more than three or four people, and they were, and they’re all friends.

Mediaweek: How did you feel at the time?

Hogan: I was absolutely terrified (laughs). This wasn’t an Australian audience, either, but they accepted it. But the screening turned out to be extraordinary, and we got a standing ovation. It was an incredible night. The next morning, bidding for the film began, and all those who had turned it down were now offering to pay millions.

Mediaweek: That’s every creative’s dream! Having people who rejected them come crawling back?

Hogan: It was pretty great. We always made sure to remind them that they had been sent the script and turned it down.

But whoever we were negotiating with said, ‘Well, that wouldn’t happen had I read the script’. Sometimes we knew for a fact that they’d read the script.  So, that’s very gratifying.

Mediaweek: You realise the film is on the school curriculum?

Hogan: It’s such an amazing thing. In fact, I was invited to my old school in Murwillumbah to speak about the film. I eventually ended up not going because I hated that school (laughs).

But I thought, wow, that’s something I didn’t foresee.

Mediaweek: What do you think is behind its staying power?

Hogan: I don’t really have a theory, except that at least in this country, in Australia, there’s something that rings true about it. I also think that, even though it was marketed at the time as a comedy, it’s so much more.

It looks at family dysfunction in such a way that I think has contributed to its staying power.

Another thing that people have told me is that Muriel was, in a way, the first social media influencer without social media. She was somebody who curated their life and about everything that they did and who they were, and that’s what everybody does on social media now.

They all curate their lives. We all know that Kim Kardashian takes 30 selfies and only puts up one and says, ‘Oh, I just accidentally took this and it’s perfect’. Muriel was there before them all.

She does anything for attention. She even married someone she didn’t love so she could be famous.  So Muriel was really one of the first characters in film who is famous for being famous. And I think she’ll continue to stay relevant because there are so many echoes that we will keep discovering as time goes on.

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When The 1% Club launched on Seven in April 2023, few could have predicted it would evolve into one of the network’s most valuable prime-time players.

In its debut season, the UK-born quiz show quickly cemented its place as the top-performing new entertainment series of 2023 across all networks.

It also became Seven’s highest-rating new launch since The Voice premiered on the network in 2021.

But the real surprise? The show has only grown stronger.

Now in its third season, The 1% Club is outperforming its launch year, a rarity in television. According to Seven, the series is up 12% year-on-year, and recent episodes have pulled in the highest numbers since November 2023.

That kind of momentum is gold in the current content climate, particularly for a Sunday night slot.

Majella Hay, Seven’s Director of Content, Unscripted, attributes the show’s sustained success to the strength of the format and its unique mental appeal.

“Well, the first reason is that it’s a great format,” Hay told Mediaweek.

“I think its premise makes viewers think about how they think, which makes it very accessible and gives it a slightly old-school community viewing feel.”

From passive viewer to active player

Unlike traditional quiz formats, The 1% Club doesn’t rely on general knowledge.

Instead, it rewards logic, observation and lateral thinking, which helps open the show up to a broader, more inclusive audience. “It also has a multi-generational outlook,” said Hay.

“You can get a question wrong and not think, ‘Oh, my goodness, I didn’t know that.’ It’s more that, ‘I didn’t work that out.’ That’s a much more inclusive experience.”

The play-along nature of the show has been a key part of its stickiness, she added.

“Because of the nature of the questions, you often go back and forth between being a viewer and a player. When you’re not playing, you’re laughing, so that then becomes this wonderful entertainment experience.”

Jim Jefferies: comedy edge, broad appeal

Comedian Jim Jefferies hosts the Australian version, and Hay believes he brings a distinctive point of difference.

“Well, he runs up to the line, but he doesn’t cross it,” she said. “A lot of Jim’s jokes are like those you see in a Disney movie. Your young child takes something different out of it than you do.”

His irreverent delivery is carefully managed to appeal to the show’s broad demographic.

“We let him go, in that we make sure that all the bits we love about Jim are there in the show. But we also know that we have a broad audience watching, so we do have to tread the line a little bit,” she said.

A magnet for brand alignment

The show is increasingly finding its way onto advertiser schedules as well.

Hay said The 1% Club is now firmly on the radar for brands, partly due to the dual presence of the UK and Australian versions. “Mainly because of the success of the UK show, and because, if they want to align with the brand, they’ve now got so many more episodes to do that.”

The combined volume of UK and local episodes offers flexibility to brands seeking deeper integration.

“We’re considering decisions for 2026 and 2027, so having something that performs this well, without requiring a specific day, gives programmers the flexibility they need.”

Streaming lift and repeat value

It’s not just linear where The 1% Club is making its mark. The show is also pulling strong numbers on 7plus, with both UK and local episodes attracting repeat viewers.

“Whether that’s people just wanting not to tell the rest of the family they’ve already seen the episode and pretend they’re really smart, or they’re just, you know, really, really into The 1% Club, I’m not sure,” Hay laughed.

“But it ticks both of those boxes for us: both the linear and the streaming service. People know where to find The 1% Club if they want their seven o’clock experience on a Sunday night. But they also know where to find it if they’re watching later.”

What’s next: tweaks, specials and staying fresh

Heading into its fourth season, Seven and BBC Studios (which produces the Australian version) are focused on amplifying what’s working. While Jefferies will return as host, the team is subtly evolving the format through new specials and adjusted question styles.

“BBC Studios makes the format here for us in Australia, and they are incredibly good at adapting, especially the questions, so that they don’t feel stale or repetitive,” said Hay.

“We tried some specials in series three that worked incredibly well for us, ‘Ladies Night’ showcased a wonderful side of Jim that we hadn’t seen before.”

Another upcoming special, ‘Singles Night’, will see Jefferies step into matchmaker territory.

“We want to keep the show feeling fresh and give Jim some fresh stuff to play with. Especially because we’ve got the UK taping market as well, and those streaming and repeat numbers are so high.”

Thinking about thinking

At its core, The 1% Club thrives because it offers viewers more than just trivia, it challenges them to engage differently. That cognitive curiosity has proven to be both commercially and creatively rewarding.

“It’s just changing the way people think,” said Hay. “We all hope for year-on-year growth. To get that on a game show that we can place anywhere in the schedule is just an added bonus.”

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