Nine CEO Matt Stanton has described as “shocking” the moment a rubber bullet, fired from a police weapon, struck 9News U.S. correspondent Lauren Tomasi during a live assignment in downtown Los Angeles.

In a strongly worded statement, Stanton confirmed the broadcaster will offer full cooperation with the Los Angeles Police Department’s newly opened investigation into the incident, which occurred amid escalating protests over immigration enforcement.

“The video footage captured by our team on Sunday showing a projectile fired from a police officer’s weapon was shocking and raised concerns from around the world,” Stanton said.

“There are valid questions around what could in any way have justified the actions taken by the police officer. This is why a formal investigation is so important. It is important to find out what happened and why. I plan to write to the LAPD Commissioner offering our cooperation with the investigation.”

Stanton added that Nine’s immediate priority has been supporting both Tomasi and camera operator James Phillips following the incident.

“Our focus has been on providing all the support Lauren and our camera operator James Phillips need in the aftermath of Sunday’s incident,” he said.

“As 9News continues to cover these dramatic and troubling events in Los Angeles for Australian audiences, the safety of our 9News teams in the U.S. remains the priority.”

He also credited the Australian Government for its fast and coordinated diplomatic response.

“I’d like to thank the Prime Minister, the Foreign Minister and DFAT officials in Australia and the United States, including Ambassador to the U.S. Kevin Rudd and Consul General Los Angeles Tanya Bennett, for the assistance afforded to Lauren, James and the 9News team,” Stanton said.

“The active and direct engagement of the Australian Government with government and law enforcement officials in the U.S. played an important role in ensuring an investigation has been established in such a timely manner.”

Investigation launched

Earlier today, the Los Angeles Police Department has confirmed it is conducting a formal investigation after Tomasi was struck by a rubber bullet while reporting live from protests in downtown LA.

The incident, which occurred during escalating demonstrations over immigration enforcement, has raised fresh questions about press safety and the use of force by authorities.

Tomasi was hit in the leg shortly after completing a live cross to Australian audiences.

The projectile is believed to have been fired by law enforcement officers working to disperse the crowd outside the city’s Metropolitan Detention Center.

A growing concern for journalist safety

Tomasi later confirmed she was “a bit sore, but okay,” and continued reporting in the aftermath. In a statement, Nine Network said both Tomasi and her camera operator were safe and reaffirmed their commitment to covering events on the ground.

The incident, however, highlights the increasing risks faced by journalists reporting from protest zones.

“This serves as a reminder of the dangers media crews encounter while bearing witness to critical global events,” Nine said. “Their work is essential to ensuring the public remains informed.”

The LAPD’s decision to open a formal inquiry suggests growing scrutiny over the tactics used by law enforcement to manage protest activity.

Questions remain over whether Tomasi was targeted or struck inadvertently as tensions between protesters and police spiralled over the weekend.

Protests flare in response to immigration crackdowns

The demonstrations in Los Angeles were sparked by a new wave of federal immigration raids sanctioned under former President Donald Trump’s administration.

What began as a series of small community protests soon grew into city-wide demonstrations, blocking major roads, including the 101 Freeway, and drawing national attention.

The unrest intensified after Trump ordered National Guard troops into the area, a move California Governor Gavin Newsom publicly condemned as unnecessary and provocative.

Over the weekend, police deployed tear gas, flashbangs, and rubber bullets in an attempt to quell the growing crowds, declaring several assemblies unlawful.

While Trump has referred to the demonstrators as “troublemakers and insurrectionists,” critics argue that this rhetoric and the show of force have only heightened public unrest and distrust.

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Publicis Groupe ANZ has appointed Matt Houltham as CEO of Starcom Australia

He will begin in the new role in July and will report to Imogen Hewitt, Chief Media Officer, Publicis Groupe ANZ.

Houltham brings 25 years of experience to the role in managing media and strategy agencies across ANZ, the US and the UK, as was previously CEO of Havas Media ANZ and MD of Naked Communications in New York and Melbourne.

He also previously led the digital media operations at the former ZenithOptimedia, now known as Zenith Australia, which is part of Publicis Groupe. Houltham also played a pivotal role in scaling market research platform Glow in his capacity as global Chief Marketing Officer.

Houltham joins Chief Operating Officer, Louise Romeo and Chief Client & Growth Officer, Scott McCaffrey on the Starcom Australia executive leadership team, working closely to ensure the continued growth and success of the agency business.

Hewitt said: “In his various leadership positions, Matt has consistently demonstrated his ability to deliver continuous innovation and achieve outstanding results for clients. He is also a leader with a reputation for positively engaging and developing talent.

“Matt’s experience across media and creative – alongside his leadership in digital media transformation – is a rare and powerful blend that will ensure the continued growth of the Starcom business in Australia. We are delighted to welcome Matt to the team.”

Houltham said of his appointment: “Starcom Australia has a fantastic legacy of strong client partnerships built on delivering effective, insight-led media solutions. That success stems from a stellar team who is ambitious, curious and deeply collaborative. I’m excited to join the crew to build on that foundation.

“With expanded data and technology capabilities through recent Publicis Groupe acquisitions, we are well positioned to elevate Starcom Australia’s impact even further – ensuring that everything we do moves people and business metrics. I cannot wait to get started.”

Top image: Matt Houltham and Imogen Hewitt

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McDonald’s and creative agency Wieden+Kennedy Sydney have released their first pieces of work together since the partnership was announced earlier this year.

The campaign features mysterious OOH to keep customers guessing on what’s to come and speaks to chicken lovers across the nation as Macca’s enters into a new golden era as it launches a new permanent menu item, Chicken McWings.

Cryptic billboard teasers have popped up across major cities in Australia, featuring a hidden message disguised in the nostalgic Microsoft font “Wingdings”.

These billboards aim to entice fans to try and decode the secret message, which has been revealed: “Peak Chicken Is Upon Us.”

Following the obscure billboards, the campaign continues with McDonaldland character Mayor McCheese with a formal press conference to officially launch Chicken McWings to the nation.

It also includes two supplementary films titled “A Great Legacy” and “Historians,” as well as additional OOH, and social and radio content comparing this historic moment to other iconic eras.

The creative agency noted that the McWings campaign is rooted in a simple fan truth — Macca’s isn’t the first place you think of when you think of chicken. But now there has never been a better time to be a chicken fan at Macca’s with a new and improved menu of chicken items.

Additionally, McDonald’s and W+K dropped another set of work that caters to coffee lovers across the nation as a new McCafé blend hits restaurants nationwide.

To help Macca’s enthusiasts start their mornings right, W+K leaned into a relatable fan truth: You come for the McMuffin, but you can’t pass on the coffee.

The campaign consists of two spots, “Coffee First” and “Yawn”. The :15 spots can be seen on broadcast and online, and the work also includes radio, social and influencer content, as well as OOH placements.

“It’s been a while since we have added something new to the permanent menu, but the response to Chicken McWings during the trial made it clear: Aussies want more chicken options with their order,” Amanda Nakad, Marketing Director of Menu and Brand, McDonald’s Australia, said,

“Chicken McWings are now claiming their spot next to other legends like the McChicken, McSpicy, McCrispy and Chicken McNuggets. It’s the golden era of chicken at Macca’s – and we’re just getting started,” she added.

Matt Owen, MD, W+K Sydney, said: “It’s been brilliant how we have been welcomed into the agency village, with all the agencies helping us to get up to speed and sharing their learnings on the brand. They’ve also given us the space and permission to bring fresh eyes and that excitement that only comes from being the newest kid on the block.”

Roy Leibowitz and Chris Wilson, GCDs, W+K Sydney, added: “Macca’s has been awesome forever. Now with the launch of their delicious Chicken McWings, and McCafé new blend, they’re even more awesome. A new era has arrived, and we couldn’t be more excited to be part of it.”

Peak Chicken Credits
Client: Macca’s
Agency: W+K Sydney
Director: Kyra Bartley
Prod Company – Film: Finch
Photographer: Bonnie Combe
Prod Company – Stills: Photoplay Photography
Sound House: Rumble
Media Agency: OMD
In Store Agency: Akcelo
Digital Agency: Digitas
PR Agency: Mango Communications

McCafé New Blend Credits
Client: Macca’s
Agency: W+K Sydney
Director: Jakob Marky
Prod Company – Film: The Sweetshop Films
Photographer: Bonnie Combe
Prod Company – Stills: Photoplay Photography
Sound House: Rumble
Media Agency: OMD
In Store Agency: Akcelo
Digital Agency: Digitas
PR Agency: Mango Communications

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Following a report from John Buckley at Capital Brief, multiple news outlets have reported that the ABC has cancelled the long-running weekly news panel show Q+A. The show has aired, to date, 598 episodes across 17 seasons of the show.

The show is currently on what was believed to be a short hiatus following an extended run of episodes to cover the recent Federal election.

Q+A was expected to return in August, but it is not clear whether the show will return to fulfil the episode order for the remainder of 2025.

The ABC are yet to comment on the reports.

Patricia Karvelas has been the permanent host of the show since 2024, after filling in for Stan Grant who unexpectedly departed the show in 2023. SInce her appointment, the show has been subject to speculation about the ongoing viability of the show with a ratings slide.

The show began in 2008, the brainchild of executive producer Peter McEvoy and hosted by then-Lateline host Tony Jones. The first episode aired with an hour-long appearance by the then-Prime Minister Kevin Rudd, but the following week it commenced with the standard multi-guest panel format.

In 2010, the show added graphics presenting tweets from the viewing audience who used the #qanda hashtag on Twitter.

As a live program with a panel discussing hot-button news stories, the show was regularly a source of unexpected news events, whether they be controversial statements made by panelists, or shoes being thrown at former Prime Ministers.

With almost 600 episodes filmed, the show has had a large number of notable guests – a whos who of politicians, journalists, cultural leaders, and business people. Regular guests on the show throughout its 17-season run have included Tanya Plibersek, Christopher Pyne, Barnaby Joyce, and Malcolm Turnbull. Malcolm Turnbull’s leather jacket made fewer appearances on the show than its outsized cultural notoriety may otherwise suggest.

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Video advertising has continued to surge in Australia with 27.5% of all online advertising invested in the channel.

This comes despite marketers flagging macro-economic conditions, cross channel media measurement, AI and understanding how consumer viewing has evolved as concerns and challenges to advertising and marketing investment in 2025, according to IAB Australia’s 2025 Video Advertising State of the Nation Report.

The IAB Video Advertising State of the Nation Report, now in its fifth year, offers insights on video advertising investment, assessment and plans from media agencies across all forms of video advertising.

The Report found that while nine in ten agencies now have a unified strategy for planning and buying across screens including TV, mobile, computer, retail and outdoor or cinema, 31% rarely or never unify effectiveness measurement across screens.

Gai Le Roy, CEO of IAB Australia commented “Digital video advertising ad spend has seen extraordinary growth with a CAGR of 21.8% over the last six years, double the rate of the overall digital ad market in Australia. However, with this increased investment, as well as diversification of environments and formats, new challenges continue to arise.

“Foremost of these is cross-channel measurement, which is now the number one focus area in both Australia and in the US. In Australia marketers are also particularly focused on improving data signals and quality for marketing mix modelling,” said Le Roy.

Respondents are enthusiastic about the continued growth and evolution of the video streaming ecosystem across CTV, online video and social video, with 66% of agencies seeing streaming’s future tied to offering better cross platform measurement, 61% believing improved targeting and personalisation will drive growth, while 53% state that innovative ad format opportunities excite them the most.

However, when asked about their greatest concerns for the ecosystem, 51% of respondents flagged a lack of unified TV and video currency as their top concern.  They also identified ecosystem complexity (41%), challenges in managing frequency (43%) and in managing buys across various self-service platforms (46%) as the greatest threats.

Marketing and advertising ROI was identified by 57% of respondents as the most important metric to demonstrate the contribution of advertising investment to overall business outcomes, however just 38% of agency respondents reported measuring ROI or revenue contribution, and 37% measured sales lift.  The Report notes the most important measurement tools for agencies are online conversion tracking, Market Mix Modelling and brand lift studies.

Additional data points from the Report include:

• 26% of agencies identified optimising campaigns across channels as the greatest opportunity for incorporating AI into video planning, activation. The next four opportunities flagged included identifying and segmenting audiences (24%), tracking and optimising ad delivery or conversions (24%), attributing campaign incremental lift (24%), and analysing and reporting performance data against campaign goals (24%).
• A diverse range of data signals are being used by agencies to inform targeting and creative for digital advertising. Demographics (age and gender) remain the most common signal used at 74%, while contextual at page or video level content is second at 67%, along with location data (also 67%).
• Reach and frequency remains the most used performance indicator to assess campaign delivery and effectiveness, used by 63% of respondents, followed very closely by brand lift metrics (60%).  The Report notes that as agencies explore full funnel video advertising strategies, using reach as the primary metric for video campaign impact on outcomes has limitations.
• Brand building remains the dominant objective for digital video; however, it is increasingly being used for lower funnel objectives including to increase sales or conversions, increase purchase or action intent.
• 84% of agency respondents identified video and social media influencers as having community building talents well suited to drive influence in the creator economy, while 87% of Audio State of the Nation survey respondents previously indicated podcasts also offered the same opportunity.

The IAB Australia Video Advertising State of the Nation Report fieldwork was conducted in May 2025 with 76 independent and major holding group agency decision makers completing the survey. The survey gathered industry information on video advertising that appears on connected devices such as connected TV, computers (desktop/laptop), smartphone or tablets, and included video advertising in all varieties of long-form and short-form digital content and social platforms.

Top image: Gai Le Roy

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Tech giant Apple has published a research paper that effectively side-eyes its own artificial intelligence.

The report, The Illusion of Thinking, finds that Apple’s AI models, the same ones powering the newly branded Apple Intelligence suite, falter under pressure.

When the tasks get tough, the models often flub the answer or simply appear to stop trying altogether.

In tests conducted by Apple itself, the company’s flagship models underperformed when stacked against competitors from OpenAI, Google, Meta, and even Alibaba.

That includes both the Apple On-Device model, which runs directly on hardware like iPhones, and the more powerful Apple Server version, which handles processing in the cloud.

Industry implications

The findings have elicited strong reactions from the AI community.

AI expert Gary Marcus described the report as “devastating,”  in his Substack, suggesting that current models may not be the direct path to transformative artificial general intelligence (AGI) .

Marcus also added that anyone who believes current models are the fast track to truly transformative intelligence is “kidding themselves.”

Apple’s cautious approach to AI development, emphasising privacy and on-device processing, contrasts with the more aggressive strategies of competitors like OpenAI and Google.

Real-world applications

It comes at a time when Apple has faced public missteps in its AI rollout, including the recent suspension of its iPhone news alerts after a series of fact-check fails.

Those included a false alert about Rafael Nadal, a wrongly reported death, and a premature darts championship win.

But Apple isn’t alone in these blunders, with other major players like Google, OpenAI, and Microsoft also grappling with AI-generated misinformation.

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The Independent Media Agencies of Australia (IMAA) has announced the launch of Sound-Byte, its first audio industry conference, set to take place in Sydney on 26 June 2025.

KIIS Breakfast hosts Kyle Sandilands and Jackie O will deliver the keynote at the event, which will be held at ARN’s North Sydney offices. The conference is part of IMAA’s Bytes series, following the success of the Digi-Byte events launched in 2024.

Sound-Byte will bring together major audio stakeholders including ARN, Southern Cross Austereo, Nova Entertainment, Nine, Mamamia, News Australia, and ATN. The event is also supported by Commercial Radio & Audio (CRA) and audio measurement firm GfK.

The presentations

The event will feature a series of panels and presentations exploring the evolving role of audio in Australian media planning. Jacquie Alley, IMAA Chair and Chief Operating Officer at The Media Store, will moderate a panel on entertainment content with guests including Will and Woody, Sofie Formica, and ATN CEO Vic Lurosso.

CRA Chief Commercial Officer Jo Dick will lead a session on the future of audio measurement and identity, exploring AudioID, featuring Jeremy Adams (GfK ANZ), Michelle Golding (Nova), and Olly Newton (LiSTNR).

Another session will focus on podcasting strategy, with speakers including Belinda Cook (Mamamia), Dominique McDermott (News Corp), Mia Stern (Nine Radio), and Kim Kerton (Nova), moderated by Grant Tothill of LiSTNR.

Audio industry gains pace

IMAA CEO Sam Buchanan said the event aims to connect members with leading voices from across the audio sector to help inform client strategy.

“Sound-Byte is an opportunity to bring together the stars and leadership of Australia’s audio industry to share their expertise, insights and experience,” Buchanan said.

“The audio sector is experiencing strong growth, particularly from digital radio and podcasting—April’s SMI data shows ad revenue growth of almost 13%, the second biggest increase since the pandemic. This is exactly the kind of momentum our members need to understand and leverage.”

CRA CEO Lizzie Young said: “IMAA’s Sound-Byte event gives direct access to the people shaping the future of audio in Australia… enabling smarter, more effective strategies.”

A Melbourne edition of the Sound-Byte event will be announced shortly.

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Eve ate the apple and the world spiralled, right? That’s the version we’ve all been handed. But what if, and stay with us here, Eve didn’t doom humanity… she just made a bold call?

What if she took a risk, challenged the rules, and rewrote the script because deep down she knew: progress doesn’t happen by playing it safe?

Fast-forward a few millennia, and women are still doing exactly that, reshaping the system, questioning old assumptions, and driving cultural and commercial change on their own terms.

In a world increasingly shaped by women’s voices, expectations, and purchasing power, Nine Entertainment Co.’s EVEolution program is stepping in to help marketers make sense of it all.

Designed as a long-term initiative, EVEolution is Nine’s way of interrogating what empowerment really looks like for Australian women today, and, crucially, what that means for brands hoping to stay in step.

Remi Baker, Director of Insights and Innovation at Nine, says the project was born from a simple but urgent question, are we really making progress?

“It kind of all started off the back of a conversation at the end of last year,” Baker told Mediaweek.

“There was so much negative news around gender equality, so we put a survey into market to get a clearer picture of what Australians were feeling. The results showed a strong sense of inequality is still very much present.”

What the data shows

Nine’s survey found that 75% of women believe men still have more opportunities in Australia.

Seventy-two percent believe men are held in higher regard, and nearly three-quarters (74%) agree more needs to be done to achieve gender equality.

But rather than dwell in pessimism, EVEolution takes a forward-thinking approach, exploring where progress is happening, where it’s needed, and how brands can be part of that momentum.

“We didn’t want it to be doom and gloom,” says Baker.

“We asked things like: where are the opportunities? What does empowerment look like to Australian women today? And how can we help accelerate action in those different areas?”

A multi-layered approach to cultural insight

To answer those questions, Nine partnered with strategic research agency Fiftyfive5 and applied a cultural forecasting framework.

The process involved analysing 184 reports on gender and equality, scraping TikTok and Instagram for content women engage with, and running a 2,000-person national survey across genders.

The team also conducted 15 in-depth interviews with subject-matter experts from within Nine’s business units.

“We really wanted to understand what empowerment means to women right now, where they feel they’re driving progress, and what cultural shifts are shaping those perceptions,” Baker says.

From that, they surfaced ten distinct narratives of empowerment. According to Baker, this breadth was intentional.

“This is a complex topic. There are serious issues brands can help tackle, but there are also more everyday ways to show up, like how women are represented in advertising.”

Opportunities for brands to engage with purpose

One key takeaway for marketers? Women’s experiences are varied and nuanced. Baker says it’s not about taking sides, but rather recognising evolving needs and responding with empathy.

“Empowerment doesn’t mean disempowering others. Just because you’re championing women’s health doesn’t mean you’re neglecting men. It doesn’t have to be one at the expense of the other,” she says.

Women make up over 50% of the population and drive more than 80% of consumer spending. Baker encourages brands to ask themselves: Where is your opportunity to raise awareness or create change? Are you already helping? Could you partner with someone who is?

Real data with resonance

While EVEolution’s findings aren’t necessarily surprising to many women, they do affirm a collective truth.

“When we shared this, the response from women was basically a nod. It wasn’t, ‘Oh my god, we never knew this.’ It was more like, ‘Yes, this is exactly how it feels.’ That’s powerful,” says Baker.

She adds that the goal wasn’t to support a single brand or campaign, but to reflect a national conversation. “We didn’t want to look at it through a brand or product lens. We wanted to understand the cultural context Australians are navigating right now.”

“There’s a real hunger for this kind of research. We’re all drowning in data, but what we’re short on is insight,” Baker says.

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Scope3 has revealed the performance results of its Brand Standards product and launched Brand Stories, an AI solution that enables brands to connect with their audiences where their narrative will resonate most.

As part of its commitment to innovation, media agency Butler/Till was the first to deploy a brand agent in a live campaign, putting Brand Standards to the test as a next-generation approach to brand safety and suitability. The agency deployed Scope3 Brand Standards for all the safety and suitability decisioning across a pharmaceutical client’s recent campaign.

The results revealed:
• Brand suitability scores increased 7%, reflecting an impactful uplift through the use of Brand Standards.
• Ad fraud and brand safety violations dropped, indicating strong safeguards in place during the campaign.
• Language-related incidents decreased substantially , demonstrating enhanced contextual alignment.
• There was no compromise on quality, scale or efficiency — viewable rates remained consistent, CPMs reduced slightly.

Nick Morticelli, Biddable Media Supervisor at Butler/Till, said: “Brand Standards surpassed our expectations, opening up new opportunities for our clients. We’re now empowered to make brand-specific decisions that both protect brand integrity and maximise reach. As technology continues to evolve, Butler/Till is proud to lead the way in advancing Brand Safety.”

Campaign reporting also revealed that Brand Standards enabled greater access to brand-aligned inventory, demonstrating the value of having a tailored brand agent. Implementing Brand Standards pre-bid allowed the campaign to capture more opportunities that aligned with the brand’s unique values, driving both efficiency and impact.

Scope3 is also expanding the capabilities of brand agents with Brand Stories, bringing on Omnicom Media Group as the official launch partner. Brand Stories revolutionises how marketers connect with audiences by understanding the personal narratives that drive behaviour and decision-making.

Using the power of LLMs, it identified content that aligned with the values and motivations that shape how people engage with the world around them, and enables marketers to quickly and easily build fully bespoke targeting segments to engage and influence those audiences. With Brand Stories, brands can engage their exact target audience faster and more efficiently than ever before.

“Brand Stories changes the equation of targeting – instead of forcing marketers to translate their brand narrative into hundreds of checkboxes and taxonomies, the prompt, or story, itself becomes the targeting,” Brian O’Kelley, CEO and Co-Founder, Scope3, said.

“We’re eliminating the need for an extra translation layer and helping brands connect directly with their audiences.”

Alex Siddall, Chief Strategy Officer at OMG, said: “This partnership with Scope3 will help us bridge the gap between cultural insights and media activation. With Q, we already have incredible cultural intelligence on emerging subcultures and micro-communities, but Brand Stories gives us the mechanics to curate inventory at the speed of culture itself — finding exactly where these conversations are happening and activating against them.”

O’Kelley added: “Omnicom gets what we’re building here. They already have incredible cultural intelligence through Q about emerging communities and micro-trends, and Brand Stories finally gives them the infrastructure to activate those insights effectively.”

Top image: Brian O’Kelley

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Screenwest has announced changes to its Post, Digital and Visual Effects (PDV) incentive, positioning Western Australia as the leading destination for post-production work in the country.

From 1 July, the state will apply a flat 20% rebate to all qualifying post-production expenditure, replacing the previous tiered system.

The updated incentive is aimed at drawing more national and international PDV projects to Western Australia by offering the highest state-based financial rebate in Australia.

The program, backed by the Department of Local Government, Sport and Cultural Industries, complements the existing 30% Federal Government PDV Offset available for expenditure of at least AU$500,000.

The competition

Screen NSW provides a 10% rebate on qualifying PDV expenditure over AU$500,000.

Screen Queensland offers up to 15% for projects spending at least AU$250,000.

VicScreen administers the Victorian Screen Rebate, granting up to 10% for general applicants and up to 15% for majority Victorian-owned companies, with a minimum spend of AU$500,000.

The South Australian Film Corporation offers a 10% PDV rebate for projects with at least AU$250,000 in qualifying expenditure.

All these state incentives can be combined with the Federal Government’s 30% PDV Offset, enhancing the financial attractiveness of undertaking post-production work in Australia.

Making WA competitive

Rikki Lea Bestall, Chief Executive Officer of Screenwest, said the enhancement is designed to build a more robust post-production industry in the state.

“This is the most competitive post-production incentive in Australia and is squarely aimed at encouraging more post-production projects to Western Australia to do business with our skilled practitioners, from editors to sound designers, VFX artists and animators,” Bestall said.

She noted that while WA has a growing volume of scripted and documentary productions being filmed across the state, many projects undertake their post-production work elsewhere. The incentive aims to address that gap.

The announcement comes ahead of the opening of Perth Film Studios in Malaga next year, which is expected to further boost the local screen industry.

Funding under the new incentive is assessed upon project delivery and is not automatically guaranteed even if eligibility criteria are met. Full guidelines are available on the Screenwest website.

Top image: Nicholas Cage in The Surfer

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Australian streaming service BINGE has expanded its long-standing partnership with Sony Pictures Television.

The renewed multi-year deal will see BINGE secure exclusive rights to first-run British scripted dramas alongside an extensive library of U.S. films and TV shows.

Earlier this month, Sony Pictures Television also renewed its deal with streaming service Stan, securing multiple U.S. Sony shows, along with library titles.

British drama builds momentum

British drama continues to carve out significant real estate in Australian viewing habits, and BINGE is betting big on its appeal.

Series such as Day of the Jackal and Sweetpea, produced through BINGE’s partnerships with NBCUniversal and Sky Studios, have already resonated with audiences.

“British drama is wildly popular on BINGE,” said Hilary Perchard, CEO of Foxtel, Kayo Sports and BINGE.

“This agreement extends a 20-year relationship with Sony, delivering not only first-run British scripted dramas but hundreds of hours of beloved American series and films.”

Prestige drama meets commercial clout

Among the anticipated additions is The Lady, a psychological drama from the producers of The Crown, centred on Jane Andrews, the former royal dresser whose ambition and downfall gripped tabloid Britain. BAFTA-winning series Mr. Loverman starring Lennie James premiered on BINGE earlier this month.

Also coming to BINGE:

• Dear England, a television adaptation of the acclaimed West End play that follows England football coach Gareth Southgate, and his journey to redefine masculinity and team culture on the national stage.

• The Other Bennet Sister, a genre-subverting twist on Jane Austen’s Pride and Prejudice, focused on the oft-overlooked Mary Bennet.

• Complete seasons of library titles including comedies Community, The Nanny, Dawson’s Creek, I Dream of Jeannie, Bewitched, Married… with Children, Mad About You, and Just Shoot Me. Critically-acclaimed dramas will also be available, including The Big C, The Shield, Justified, Damages, Hannibal, The Good Doctor, and Mr. Mercedes

• An expansive catalogue of library movies including titles from the Spider-Man and Ghostbusters franchises, White House Down, Big Daddy, and Talladega Nights: The Ballad of Ricky Bobby

“This is just the beginning,” said Wayne Garvie, President of International Production at Sony Pictures Television.

“We’re in a golden age of British storytelling, and our goal is to deliver series that reflect the depth and complexity of that tradition.”

BINGE’s broader content strategy: diversity through curation

Perchard highlighted that BINGE’s appeal lies in both its originals and its curated acquisitions: “Our deal with Sony complements our Originals and our work with over 50 global and local distributors, including BBC Studios, NBCUniversal, Sky Studios and ITV.”

From a distribution standpoint, Sony is equally enthusiastic.

“We’re thrilled that BINGE will be the Australian home for Sony’s first-run British dramas,” said Julia Salter and Carolyn Ozkoseoglu, Co-Heads of Distribution, ANZ, at Sony Pictures Television. “It reflects the strength and trust of our ongoing relationship.”

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Mediaweek’s Media Movers charts the biggest people moves in the industry over the past week.

Ben Coulson has departed Dentsu Creative after two years as chief creative officer for ANZ.

oulson joined the creative agency in September 2023 and helmed campaigns for brands such as nib with ‘Potentially Amazing and The Iconic’s ‘Got You Looking’.

Brett Colliver, co-CCO of Dentsu Creative NZ, will lead creative across Australia and NZ until Coulson’s replacement is found.

Mediaweek can confirm a new editor has been announced at the Brisbane Times.

Rosanna Ryan will take the reins following the departure of Sean Parnell. Ryan joined the Brisbane Times in July 2023 as Digital Editor. Prior to that she served as Digital Editor for the ABC’s Radio National, based out of Brisbane.

Ryan is currently on the board of Brisbane community radio station 4ZZZ, but it is not known whether she will continue following the new appointment.

On his twice-weekly podcast WTF, host Marc Maron announced that the show will come to an end later this year.

Maron was one of the earliest podcasters to break out in the public consciousness, helping podcasts go mainstream. His podcast set a template for many of the long-form, confessional interview podcasts that have emerged from the medium.

He told listeners to his podcast that the reason he is planning to end the show was simply that he was burnt out. The WTF podcast has reliably been published every Monday and Thursday for 16 years straight without taking a break. For the entire run of the show, it was produced by Brendan McDonald.

Maron has not ruled out starting another interview show or podcast at a later stage. At a time where podcasts are making a pivot towards video, Maron has kept WTF as an audio-only show.

Renae Usher has been appointed to the newly created role of director of sales at reo, powered by oOh!media.

Usher bring smore than 13 years of experience across retail media, digital and publishing sales, and was previously at Cartology for more than three years where she led the successful retail media sales team, spearheading omnichannel activations across for major FMCG brands including Coca-Cola, PepsiCo, Mondelez, Mars Wrigley and Nestlé.

She has also held leadership roles at Nine and Fairfax, managing major agency relationships and cross-channel solutions.

She joins as reo continues to drive significant market momentum and follows announcements earlier this year of major partnerships with leading retailers including Petbarn, Officeworks and Australia Post.

reo is in advanced discussions with a number of other high street retailers with further announcements to be made in due course.

Free TV Australia has announced the departure of its Chair, Greg Hywood, after close to five years in the role.

Hywood, the former CEO of Fairfax Media, was appointed in October 2020 and oversaw a period of significant industry and regulatory change for Australia’s commercial television broadcasters.

The industry body confirmed that the process to appoint a new independent Chair will begin immediately.

Robert Morgan will retire from Clemenger Group at the end of the month after 46 years with the holding company, 23 of those years serving as Chairman.

Morgan said in a statement: “I have loved the business and have been incredibly lucky to have had the career I’ve had. But the best thing has been the remarkable talented and wonderful people I’ve worked with over these 46 years.

“We have a strong company. And I’m confident of the future. As long as we never forget – great work, works best!”

The outgoing chairman recalled being hired by the co-founder Peter Clemenger, who he called “Australia’s greatest ever advertising agency leader”, and rising through the ranks – from account executive to managing director, CEO and Chairman.

Compass Studio has appointed experienced PR operator Emma Butler as its new Account Director.

Butler brings more than 10 years’ experience in communications to the role, and boasts a broad portfolio spanning tourism, consumer goods, and the not-for-profit sector.

Her resume includes work for high-profile brands such as Virgin Australia, Procter & Gamble, and Tourism Australia’s Cultural Attractions of Australia initiative.

The Foxtel Group has confirmed a new season of The Great Australian Bake Off, with comedian and writer Tom Walker joining returning host Natalie Tran.

The new season, which marks the eighth instalment of the Australian adaptation, will again feature judges Rachel Khoo and Darren Purchese.

Walker, known for his improvisational comedy and appearances on Whose Line Is It Anyway? and Guy Montgomery’s Guy Mont-Spelling Bee, brings a distinct comedic style to the role.

His previous accolades include Best Newcomer at the Melbourne International Comedy Festival and the Director’s Choice Award at the Sydney Comedy Festival.

Los Angeles-based creative company The Many is launching in Australia, with co-founder Damien Eley returning to Down Under to spearhead the expansion.

Eley said: “This isn’t a traditional agency launch and we’re not here to just work for hire. We’ve really tried to purpose-build this for an increasingly fragmented, fast-moving, and more audience-led world. We want to participate in our partners’ goals.”

Central to the creative agency’s expansion into Australia is a belief that the future of creativity is participatory.

The agency’s model aims to turn brand fans into collaborators and culture-makers, from co-created IP and creator-led storytelling to AI-assisted campaign development.

Mike Fitzpatrick will be departing from his role at the ABC at the end of this month, marking the close of an 18-month tenure as Head of Capital Networks and Sport.

Fitzpatrick sent an email to staff updating them on the news. In the email, he advised that he will continue working until the end of the month as far as his health allows.

“As many of you may know, at the end of last year I was diagnosed with a health condition that has led to extended hospital stays and significant time away from work. Although I’ve returned over the past weeks, it’s become clear that I’m simply not well enough to work full-time and I need to focus on managing my condition and health,” Fitzpatrick wrote.

“This has been a difficult decision. I care deeply about this team, this work, and the vital role public broadcasting plays in people’s lives.”

Brand activation agency Curious Nation has named Braydon Priest as senior producer, bolstering its project delivery capabilities amid growing demand from clients across New Zealand.

Priest, who spent two decades at MediaWorks’ The Breeze radio station in various operational roles, will now oversee projects for brands including Woolworths, Trade Me, Milford Asset Management, Kraft Heinz, Watercare, and the Burnett Foundation Aotearoa.

Most recently serving as Auckland operations manager and executive producer of The Breeze’s breakfast show, Priest was recognised as Best Music Producer at the 2023 New Zealand Radio Awards. He began his tenure at MediaWorks as national promotions manager in 2012.

R/GA has launched a global AI Products team to help brands grow through AI-enabled products that deliver new experiences, capabilities, and value.

To lead this team, the creative innovation company has appointed Ben Cooper as Global Executive Director, AI Products.

Cooper has worked closely with senior brand leaders to shape strategies that help forward-thinking brands harness the full potential of new technology. He will report to Michael Titshall, in his role as Global Head of AI Products at R/GA.

R/GA has invested in building out a dedicated, multidisciplinary AI Products team, with deep expertise in AI consulting, design and development, and supported by the company’s new $50M Innovation Fund. This brings experience from delivering over 100 AI products for leading tech companies, brands, and agencies.

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Quiip is celebrating 15 years of connecting and protecting communities online.

The online community and social media agency has grown from a bold idea to transform community management into a thriving team of over 25 online community specialists since launching in 2010. As pioneers in the field, the agency is known for its work with leading brands and organisations, but also for its advocacy of safe, inclusive and meaningful digital spaces.

Founded by CEO Alison Michalk as a vision to enable better online engagement, the agency has grown into a leading business in community strategy and practice, delivering world-class community management services in Australia and internationally.

Quiip has been instrumental in building and supporting the community management industry. From creating Australia’s first network for community managers to co-founding the State of Community Management Report and Swarm – APAC’s premier conference for community professionals – the company has been at the forefront of defining standards and direction for community management in the region.

The agency was one of Australia’s first 250 certified B Corporations and has been firmly committed to business as a force for good. As a proud Pledge 1% member with a charity-matching program, the company has donated over AU$150,000 to not-for-profit causes and organisations since 2010.

With a strong focus on positive climate and environmental action, Quiip recognises the planet as a key stakeholder. The company’s commitment to the B Corp framework is woven into how it works – from its impact roadmap to its partnership with Trace to measure and manage emissions.

Quiip shares its journey through annual Impact Reports which track performance, impact and the satisfaction of clients, partners and team.

The agency’s key highlights in FY 2024 included: achieving 56% revenue from partnering with purpose-driven organisations; pro-bono support for Parents for Climate, Take 3 for the Sea and the Yes campaign; new leadership appointments; and innovative sponsorship of Home Energy Efficiency scorecards for its all-remote team.

Michalk said: “This milestone is a testament to our incredible team, long-standing partners, and the communities we’ve helped shape. I’m curious and energised about what the next 15 years will bring. We’re committed to responsible business practices and continuing to build spaces online where people feel seen and supported.”

As the digital landscape continues to shift, Quiip aims to stay ahead by constantly adapting and refining its approach. From the rise of decentralised platforms like Bluesky to the renewed popularity of forums and the need for safer online spaces for under-16s, Quiip remains platform-agnostic and agile.

The Quiip team is actively embracing new technologies, including keeping a close eye on the impact and effectiveness of AI tools and looking forward to the next 15 years — evolving with the technology, trends and communities that will shape our collective online future.

Top image: Quiip team

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Enigma has appointed Aldo Ferretto as Creative Director and Head of Art, a role that reunites him with Chief Creative Officer Simon Lee.

Ferretto brings close to two decades advertising experience to the role, alongside a proven track record of creative excellence. Before joining Lee at The Hallway in 2019, he worked at leading creative agencies including LOLA MullenLowe, DDB Spain, Publicis Australia, Leo Burnett Buenos Aires, and Lowe & Partners Chile.

His work has been recognised at every major international award show, including D&AD, Cannes Lions, One Show, New York Festivals, Clios, Eurobest, Andys and Spikes.

Ferretto and Lee share an award-winning creative partnership during their time working together at The Hallway, they were instrumental in the creation of a body of work that saw the agency ranked second-best medium-sized agency in Australia in 2024(CB) and #3 Indie in the region (Cannes Report).

The pair created the internationally acclaimed Boys Do Cry campaign, and, along with Creative Director Jess Thompson created and launched the Binge brand and Suncorp Bank’s “Banking you can Feel Good About” platform.

Ferretto was also the creative lead on the GWM automotive account – helping to make it the fastest growing auto brand in Australia. And, after amassing close to 30 creative awards together, they were part of the Hallway team that picked up Australia and NZ’s only design Lion in 2024 when they brought “The Cardboard Cake” into the world for Sydney’s Wholegreen Bakery.

The agency’s key appointment – Lee’s first since he took the creative helm of Enigma in March this year – signals a further strengthening of Enigma’s creative offering.

Ferretto will oversee building and leading a world class integrated design team as well as working closely with Lee alongside the highly awarded creative duo of CD Matt Ennis and Senior Creative Cam Brown.

Ferretto said of his appointment: “It’s incredibly exciting to be joining Enigma in this new chapter. The agency has an outstanding 33-year track record of delivering strong commercial results, backed by a truly integrated Creative and Media model.

“There’s a bold creative ambition here to produce world-class work for ambitious brands—and that really resonates with me. I’m especially looking forward to pushing the boundaries of art and design, and to building, alongside Lisa, Justin and Simon, a team that cares deeply and delivers exceptional, meaningful work.”

Lee added: “When I joined Enigma, I committed to building a world class creative team, and Aldo’s appointment is a big step towards achieving that goal. In the 6 years that Aldo and I have already worked together, I’ve experienced first-hand the value that his exceptional eye for craft and unique conceptual vision brings to brands. I’m excited by what I know he will bring to Enigma’s stable of clients.”

Top image: Simon Lee and Aldo Ferretto

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