Jackie O Henderson has given a full and frank interview around the failure of The Kyle and Jackie O Show in Melbourne and revealed new measures have been put in place to ensure the show finds success after a disappointing start.

These measures include reducing the “smut” content, building on her natural chemistry with co-host Kyle Sandilands, and spending more time in the city to win over the audience.

Henderson also revealed  Sandilands  – who just announced he has two aneurysms and needs surgery – is looking to buy a house there so he can commit to the show’s growth in the Victorian city.

The 50-year-old radio star was interviewed on stage by her best friend and former radio producer, Gemma O’Neill, at CRA’s Heard 2025 audio showcase in Sydney.

The breakfast duo launched their show to much fanfare into the competitive Melbourne market in April 2024, but listeners were overwhelmed by the sexual content and it is currently ranked fifth with a market share of just 5 per cent. In Sydney, the pair have a winning 13.5 per cent share.

To a packed crowd at the CRA event, Henderson faced criticism that the show was too smutty and divisive for that audience.

“We launched into Melbourne, obviously, and it didn’t go gangbusters straight away,” she told O’Neill on stage. “And I think people are nervous to ask me about that, because maybe they associate that with a loss of pride or something. But Melbourne not being a success instantly is weirdly a good thing for us,” she added.

It made us go, ‘Have we lost our way?’

“I mean, we’ve been doing breakfast for more than 20 years and there have been times where the show has inevitably gone off track a little bit, because each day… you might push boundaries or test the limits, and before you know it… you’ve gone over here too much.

“And so when we launched into Melbourne, and it not being a success straight away, humbled us. It made us go, ‘Have we lost our way?’

As a result Henderson said she and Sandilands had to sit back and look at the show and work out what was going wrong.

“It really made us reassess where we’re at, what we’re doing with the show, and you know, do a re-set. I think the show that we’re doing now is sounding better than it has in a long time.

“I really think we’ve got our groove back, and I can feel it when we do.”

“I know when we’re on track and doing the things that make Kyle and I do great radio and that smut has really been taken away, and it’s just good for chemistry.”

Now, says Henderson, the pair need to find the Melbourne audience again and she hopes listeners will give the show another chance.

‘We have to rely on those people to re-tune in and give it a second chance’

“So, Melbourne will be slow because they obviously tuned in, it instantly got a lot of press… then they heard the really f***ed up s*** we shouldn’t have been talking about and I cringe when I think of it, but anyway, it is what it is. It’s done, and now we have to rely on those people to re-tune in and give it a second chance.”

Henderson said she believes a lot of that will come from the “talkability” of the show and it will develop as more people tune in.

“I think that word of mouth is probably the way it’s going to come around, but that will take time, and that’s OK, it’s totally fine.

The pair are so committed to the show working in Victoria, Henderson revealed that Sandilands is even buying a house there so he can spend more time in Melbourne so the show doesn’t feel like an add-on to a Sydney-based show.

“Kyle’s gotten all wrapped up in buying a house in Melbourne and spending more time there,” she said on stage. “We both want to because we really want Melbourne to like to feel like they’re just not some afterthought, and rightly so.

“I think in terms of the content we’re doing at the moment, the style of where it sits, I think we’re in a good place. And I think it is just now showing more love to Melbourne.”

Henderson also broached how her co-host’s ill health will affect the show and its potential success in Melbourne. Sandilands recently revealed he had been diagnosed with two aneurysms and would have to undergo surgery.

“Obviously Kyle’s health is number one,” Henderson said. “And we’re okay with that at the moment… there’s no operation coming up just yet. We’re just monitoring it.

“So, let’s see what happens – one day at a time with that. And I think for 2025 obviously, we really want to get stuck in to Melbourne. And for us, we really want to lean into that and really want to focus on building that.”

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Vinyl Group (ASX: VNL), Australia’s only ASX-listed music company, has announced an exciting rebrand of its growing media division as Vinyl Media, which will house both its owned and licensed publications.

Vinyl Media embarks with a new mission to turn brands into cultural icons. It will function as a premium publishing and culture house for advertisers to engage with audiences across a diverse range of profiles. Vinyl Group’s recently appointed chief operating officer, Joel King, will serve as interim general manager of Vinyl Media.

Following the completion of its acquisition of The Brag Media – including Rolling Stone Australia and Variety Australia – in early 2024, Vinyl Group embarked on an ambitious strategy to build out one of Australia’s most exciting independent suite of publications.

Vinyl Group has since acquired leading Australian media and marketing publication Mediaweek, and is set to complete its acquisition of Concrete Playground, a leading digital city guide that curates engaging events, experiences and trends in Sydney, Melbourne, Brisbane, Auckland, and Wellington.

The company also recently executed a licensing and representation deal to bring women-focused lifestyle media brand Refinery29 back to Australia. This partnership marks Vinyl Group’s long-awaited entry into the women’s lifestyle category, and a return of Refinery29 to the ANZ market with a revived local edition under the stewardship of Vinyl Group and includes representation of ANZ inventory across Refinery29’s international sites. A local editor and editorial team will be established to ensure the creation of premium original content that reflects the unique perspectives of local audiences while maintaining Refinery29’s voice and editorial standards.

Rolling Stone Australia will also continue to be published and licensed by Vinyl Media locally after the company renewed a multiple year licensing deal with Penske Media Corporation (PMC). Vinyl Media also publishes PMC’s Variety Australia, and manages advertising placements for 14 additional PMC titles including Billboard, The Hollywood Reporter, Deadline, IndieWire and more.

The new-look Vinyl Media will house The Brag Media’s award-winning partnerships and creative team, as well as the recently acquired Funkified events team, giving advertisers exclusive access to culture passion points, connected audiences, real life experiences, and some of Australia’s most iconic brands both within and beyond publishing. Vinyl Media’s other local publications include The Music Network and Tone Deaf, and it represents additional iconic brands including Rotten Tomatoes, Bluesfest Byron Bay, Letterboxd, Crunchyroll, and more, leveraging audiences across culture, music, gaming, and much more.

Vinyl Group CEO, Josh Simons, commented: “The launch of Vinyl Media is a testament to the incredible growth of Vinyl Group over the past year and our ambition to shape the future of culture and media in Australia. By bringing a growing stable of the most influential brands across music, entertainment, media, and lifestyle, we’re building a powerhouse for storytelling and audience engagement.

Batoul Peters, head of commercial operations for Vinyl Media, added: “With the expertise behind our ecosystem, we embed brands into the fabric of culture through tailored and strategic brand solutions. Vinyl Media now offers unparalleled access to engaged audiences across music, entertainment, lifestyle, and more — connecting brands with the moments, communities, and conversations that matter.”

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NBCUniversal (NBCU) has promoted Chris Taylor to the role of managing director, APAC, TV Distribution and International Networks & DTC.

In this expanded role, Taylor will retain his existing remit overseeing content sales/distribution, networks and DTC in Australia & New Zealand, extending responsibility for sales/distribution, networks and DTC, across Asia Pacific.

With Justin Che moving to LA as President of Universal Pictures Home Entertainment, Taylor steps into an expanded leadership role, staying based in Sydney.

Taylor will report to Carolyn Stalins, EVP of sales liaison international, global TV distribution, and Ken Bettsteller, president of international networks and direct-to-consumer, NBCU.

Since joining NBCU in 2013, Taylor has been instrumental in expanding the company’s TV Distribution and International Networks across Australia and New Zealand.

Under his leadership, NBCU has strengthened its market position through long-term content licensing deals and the launch of Bravo New Zealand and 7Bravo via key local partnerships.

Before NBCU, Taylor held key executive roles across APAC, including as CEO of Quickflix, where he launched Australia and New Zealand’s first SVOD streaming service.

At Telstra, he led digital media expansion, introducing IPTV to Australia. His career also includes 11 years at Nine Entertainment Co., where he was MD of Nine Network QTQ-9, and a stint as CEO of Prime Television New Zealand.

Pictured: Chris Taylor

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You’d be hard pressed to find a nicer human in the Australian media industry than Stevie Jacobs. Many would be forgiven for thinking the zest and joy The former Today Show weatherman brought to his reports was all ‘put on’.

Spoiler alert: It’s not.

But, just because Jacobs is affable and open, doesn’t mean he isn’t selective when it comes to the projects he takes on. It’s this approach that has seen Jacobs cherry pick the roles he’s done over the past few years, or rather, the part-time roles, with “dad” the main focus for the 58-year-old.

“I’ve had to take a few years off working full time and traveling because my two girls needed me,” Jacobs  told Mediaweek.

“With The Today Show, I was away for probably 250 days a year, and that just didn’t work with with kids. Then I I sort of became a single dad, so I just couldn’t travel. I couldn’t be away from home,” he said.

That’s changed now with his “beautiful girls growing up” leading Jacobs to team-up with the Australian-founded, global news platform, LeadStory.

Haven’t heard of it? Don’t worry, neither had Jacobs. That is until he realised he’d actually been watching the platform on a daily basis.

The brainchild of former Seven News senior reporter Cam Price and his co-founder Cheyne Wallace, LeadStory launched in 2021 initially as a web and mobile app, as a way to give audiences around the world access to high-quality broadcast news on-demand.

Since then the company has exploded, signing licensed content partnership deals with some of the world’s biggest news publishers including CNN, CBS, CNBC, Reuters, Deutsche Welle, and Channel 10 here in Australia.

Along with the web and mobile app, the company also struck a deal with Samsung TV Plus – a free ad-supported streaming television service owned by the company and introduced back in 2015.

“We’re thrilled to have an incredibly engaged and rapidly growing international audience of 10million+ viewers per month who watch our service on the web, via mobile/app and, most notably, on our FAST TV channels Breaking News Channel by LeadStory and Your News Channel by LeadStory – the world’s first personalised TV channel,” Price told Mediaweek.

Price says the addition of native advertising – something they started implementing 18 months ago – has now become a “key part of the broader business, supplementing traditional advertising returns”.

“As opposed to traditional TV, we leverage technology to deliver a dynamic, personalised news experience based on our viewers interests and behaviours. This means that what our viewers see is catered to them and their interests. And, unlike traditional earned media content, clients work directly with us on the production of the story,” Price said.

They’ve already notched up a solid resume of clients as well, including Koh, Montu and Mosh, with the company recording a ~92% completion rate for viewers watching content across their platforms.   

It’s since led Price and his team to scout out other ways to push the offering.

“Amid a fairly heavy news cycle over recent months – wars, a fiercely fought U.S. election campaign and ongoing cost of living pain – we have seen huge audience demand for good news stories too,” he explained.

“We know our audience love to travel and they lap up travel and lifestyle content – so we saw travel as a logical next vertical to expand our native advertising offering into,” he explained.

And that’s where Jacobs comes in.

The seasoned presenter will now head-up the company’s native advertising travel offering, acting as both reporter and co-producer on news-led travel stories with both domestic and international tourism, hospitality and travel brands.

“I’ve got lots of contacts in the travel space from my many years at The Today Show,” he said.

“I’m going out to market and to my contacts and bringing in partners from the travel industry. Plus, these are really interesting travel stories that have actually got some backbone to them.”

The company has already landed its first client, with Tourism Fiji partnering with the crew for five feature stories which they will begin shooting in early March and roll out over the next two quarters to align with key dates and campaigns in the client’s calendar.

Head of communications AU at Tourism Fiji, Sarah-Louise Robinson, told Mediaweek “the collaboration aligns perfectly with Tourism Fiji’s regional marketing strategy, where engaging destination content plays a crucial role for us.

“Our past success with FAST TV has shown just how impactful this growing, free-to-access medium can be in connecting with new audiences,” she said.

Jacobs couldn’t be more excited.

“Studies have shown Fijians are the happiest people on the planet and, it’s safe to say, the LeadStory team are also grinning from cheek to cheek to have Tourism Fiji onboard as our launch partner in the travel space.

“You know, these are stories that need to be told. They’re global stories because it’s ultimately about winding back technology, about being friendly, about the Bula mentality. It’s about family and community.

“All these stories that we’re doing are important stories, that happen to be travel based, but are news led,” he said.

Pictured: Stevie Jacobs

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Seven West Media (ASX: SWM) posted a solid performance for the first half of FY25 despite a challenging advertising environment. CEO Jeff Howard and CFO Craig Haskins spoke to Mediaweek about the company’s strategies for growth, its digital transformation, and the outlook for the second half of the year.

A resilient start focused on growth

Despite a 6% year-on-year dip in group revenue to $727 million, Seven’s focus on adapting to evolving market conditions is paying off. Howard highlighted the tough year-over-year comparison, largely due to the absence of big-ticket events like the Women’s World Cup and the Olympics.

“While total TV revenue was down 8% in Q1, we’ve seen strong performance in other areas. Seven Plus delivered a notable 23% growth in Q2, and we’ve been able to drive digital engagement effectively,” he said.

Seven’s strategic push into digital is a key factor behind the resilience in its first-half results. The launch of 7plus Sport has attracted a younger, digitally native audience, particularly with high-profile events like the AFL Grand Final. The game alone saw 654,000 viewers on 7plus, a 44% increase compared to last year.

“The clear objective remains to stabilise and grow earnings and cash flow, no matter the market conditions,” Howard emphasised, pointing to ongoing investments in sports content and leveraging high-profile shows across platforms.

Driving revenue and cost efficiency in a tough market

CFO Craig Haskins provided further insight into the financials, noting that while TV advertising revenue declined by 6%, Seven has been able to offset some of that impact through its growing digital platform, 7plus.

“The advertising market remains soft, and we didn’t have the major sporting events we had last year, which impacted the results,” he said. “However, we’ve been able to capture growth in our digital business, with 7plus growing advertising revenue by 15% year-on-year.”

Cost management has also been a priority, with Seven successfully reducing operating expenses by 2% year-on-year. “We’ve implemented a disciplined approach to cost management, targeting a reduction of $20 to $30 million for the full year,” said Haskins. “This is all part of our strategy to maintain profitability, even in a challenging market.”

Seven’s focus on operational efficiency has seen a reduction in net debt by $41 million, providing a stronger financial position as it heads into the second half of FY25.

Digital transformation and the future of BVOD

The company’s ability to drive audience growth, particularly through its digital platforms, was another key focus of the conversation. Seven saw a 1.5% increase in total TV viewership, but the real standout was BVOD, with 7plus recording a remarkable 43% increase in audience engagement.

Howard pointed to content as a key driver of this success. “We’ve been able to tap into high-value sports content, and the 7plus First strategy is giving audiences access to top shows and events earlier,” he said.

Haskins also emphasised the role of sports rights in driving this growth, with both AFL and cricket continuing to be central to the company’s strategy. “We’re not just focused on linear TV anymore; our strategy is multi-platform. With digital assets like 7plus, we’re able to reach more viewers and deliver more advertising opportunities, especially for high-profile events like the AFL.”

Optimism for the second half of FY25

Looking towards the second half of FY25, Seven remains optimistic. The company expects to see a recovery in the advertising market, with Q3 bookings tracking slightly above last year. The upcoming federal election is expected to be a boost for the company, along with continued growth in its digital and BVOD offerings.

“We expect to see modest growth in the second half of FY25,” Howard said, “particularly as our digital offerings like 7plus Sport continue to attract high-value audiences. The AFL and cricket content will remain key drivers for us, and we’re confident that the Federal Election will provide a lift.”

Howard also highlighted the ongoing focus on cost management. “We’ll continue to manage costs carefully to ensure we can reinvest in the content and technology that will drive future growth.”

Another key point for Seven has been its approach to evolving content to meet changing viewer habits. While the network’s news offerings remain the most-watched in the country, Seven has been experimenting with new formats and personalities to keep the audience engaged.

“We’ve seen that audiences are evolving, and we need to keep news content fresh and relevant,” Howard said. “It’s about staying connected with our viewers, especially as they increasingly turn to digital platforms. We’re experimenting with different styles to ensure we maintain our strong news leadership position.”

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This year has already signalled some major changes to the global media landscape. With big tech owners embroiled in controversial politics, the Australian Government signalling a new push to force tech companies to pay for news, and AI forever changing the SEO landscape, there is certainly a feel that the global media is facing a vibe shift.

At Daylight, our job is to help Australasian media publishers survive and thrive. Our role is to take stock of a publisher, and to help them build audience and revenue streams that are resilient in a tough environment.

From working with Australasian publishers with anywhere from 10 to 1000 staff we have built up some thoughts on things that bring risk and benefit to media publishers in 2025.

Below are some red and green flags facing AU media this year.

Red Flag: Trump brings more politics and AI to social media

The incoming Trump administration has forced through another seismic change in social media. With the end of content moderation and a sharp rise in AI-generated content, there is an increasing sense from many users that platforms like X and Facebook are reaching a different and quite anti-human new era.

While publishers should rightly be cautious about their brands connecting too heavily with these trends on those outlets, this situation creates a huge opportunity for publishers to make a fresh case for their audiences outside of the usual social media content.

Australian media publishers should talk directly to their audiences, and find ways to connect outside of social media. In this way, they can build enduring habits and relationships with a far better value exchange.

Green flag: Loyal audiences are key

While it has been an agonising quarter century for publishers, for those which have survived, there is a strange upside to where we now find ourselves: there is little more the tech giants can do to us,and the audiences that remain are loyal.

Building audience revenue remains key for most publishers. While commercial partnerships remain crucial, a loyal audience is now paramount. Because of this publishers should look to emphasise the most direct relationships with their audiences: building homepage loyalty, email databases, logged-in readers, and paying customers.

Red Flag: Don’t rely on someone else to take care of your audience

The past years have seen media publishers diversify their audience across new mediums such as podcasts and digital video. While podcast or video audiences mediated by the likes of Spotify or YouTube have value but should be treated with circumspection.

Having a big tech organisation own your customer relationship should be seen as a business risk. Attention should be paid to remedying this and taking the audience back under your control. The story of media platforms built on tech companies typically has an unhappy ending.

In an Australian context, we saw Vice lead a number of digital franchises into Australian offices. In July of last year, a number of them closed – largely

Green Flag: Audiences are increasingly loyal to digital news brands

Now that publishers have stopped chasing scale through the empty calories of social virality and search optimisation, there is a new set of priorities rising. Having a sleek, modern and agile platform allows publishers to maximise the performance of their content, keeping audiences around longer.

Likewise, having a powerful and resonant brand makes audiences recognise and relate to your content in a highly distracting world while also giving advertisers and commercial partners a sense that you care as deeply about experience and product as they do.

Our work with The Squiz, Man of Many, and GALAH  centres on a modern, modular design system that seamlessly translates across digital touchpoints. This approach ensures consistency in both content and commercial opportunities while optimising e-commerce performance. By creating a brand-safe environment, we empower partners to invest with confidence, strengthening brand equity and fostering long-term audience loyalty.

At Daylight, we’re working with publishers to figure out how to navigate and win in this chaotic environment – one with huge dangers but profound opportunities if you play it right.

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The Federal Government has appointed Georgina Somerset AM as the ABC Board’s Deputy Chair for a six-month stint, filling the vacancy left by Peter Tonagh’s resignation in December.

Tonagh stepped down from his role to join the board of Nine Entertainment Co. as an independent non-executive director.

Communications minister Michelle Rowland said “the government wishes Mr Tonagh the best for his next chapter, and thank him for his service to public broadcasting.”

A non-executive director since 2017, Somerset brings experience in regional development and the not-for-profit sector. In a press release, the government says the short-term appointment is aimed at keeping the Board steady as the ABC continues its Charter mission.

According to her biography on the ABC website, Somerset has “board experience across the not-for-profit, government and industry sectors as general president of AgForce Queensland Farmers, a director of the Royal Flying Doctor Service (Queensland section), the RFDS Foundation and the Foundation for Rural and Regional Renewal, and as Chair of the Red Earth Community Foundation”.

An independent panel will lead a merit-based search to fill the ABC Board’s non-executive Director vacancy, following the process set out in the ABC Act 1983.

Once appointed, the Government will choose a Board member to take on the Deputy Chair role long-term.

Minister Rowland added: “The Board performs a crucial role in guiding the ABC, including maintaining its independence and integrity, and ensuring the accuracy and impartiality of news.

“Ms Somerset has been an asset to the Board during her term and will continue to make a strong contribution in the role of Deputy Chair for the next six months,” she said.

Pictured: Georgina Somerset

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Actors Rose Byrne and Bobby Cannavale return to star in a new campaign for Australian property marketplace, Domain.

Byrne and Cannavale, who are together off-screen and share two children, continue to the story a hapless couple making all the wrong moves as they navigate the property market without Domain. The couple use unusual tactics in an attempt to gather intel, trying unsuccessfully to give themselves the upper hand.

This campaign is the second chapter building on the strength of Domain’s ‘Know what we know’ platform, featuring the Hollywood couple.

“We know the property market can be tough on Australians, which is why we wanted to expand on the ways we’re able to inspire confidence along the property journey,” Heather McGovern, Domain’s acting chief marketing officer.

“As our campaign enters its third year, we’re highlighting several of Domain’s app features like property alerts, shared shortlists and price estimates, making it easier than ever to stay informed, compare options, and make confident decisions every step of the way.”

As with the first iteration of the campaign, assets were used to tell the story across a range of Domain touch points. The campaign is a collaborative output of creative agency Howatson+Company, media from PHD and Domain’s marketing team.

The films were directed by Trent O’Donnell and Katie Locke O’Brien working with the production company Rabbit.

“After the success of the first year, it’s exciting to be back with season 2,” Richard Shaw, deputy chief creative officer, Howatson+Company.

“Again we’re demonstrating Domain’s understanding of the lengths people can go to, to navigate the property market, and how Domain can help. If only someone would tell Rose and Bobby to download the app.”

The third year of the campaign ran through the funnel and includes Film, OOH, radio, social, digital, product and more.

Credits

Domain
Chief Marketing Officer: Rebecca Darley
Acting CMO + Director Marketing Strategy and Insights  Heather McGovern
Head of Group Brand & Advertising: Kinga Papp
Head of Consumer Segment Marketing: Liz Fry

Group Head of Research & Insights: Greg Braun
Senior Marketing Manager: Shanika Campton
Senior Marketing Manager: Madde King

Senior Marketing Manager (Product): Anna Massingham
Marketing Manager: Audrey Greening
Marketing Manager: Jasmine Miskovich
Marketing Executive: Matisse Antonelli
Graphic Design Lead: Melinda Craig

Senior Digital Designer: Madeleine Fallins
Copywriter: Natasha Clarke

Agency: Howatson+Company
Chief Executive Officer: Chris Howatson
Chief Strategy Officer: Dom Hickey
Deputy Chief Creative Officer: Richard Shaw
Executive Creative Director: Jeremy Hogg
Head of Production: Holly Alexander

Head of Design: Ellena Mills
Art Director: Olive Jones Evans

Copywriter: Phoebe Gribble
Senior Producer: Natalie Greaves
Senior Designer: Harry Cromarty
Studio Lead: Simon Merrifield

Finished Artist: Patrick Riviera
Retoucher: Chris Hall
Client Partner: Sophie Sykes
Business Director: Sophie Grierson

Production Company: Rabbit
Local Production Service: Small Fry Films
Director: Trent O’Donnell and Katie Locke O’Brien
Executive Producer: Alex Hay

Post Production: The Editors
Editor: Stu Morley
Photographer: Robby Klein
Sound Engineer: Tone Aston, Rumble Studios

Media Agency: PHD Media

Research Agency: House of Brands

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Analytic Partners have revealed new research at the HEARD 2025 conference, showcasing radio’s ability to drive long-term ROI through brand-focused advertising.

The data focused on a recent campaign for Nespresso. When measured alongside previous radio trials, the data from Analytic Partners reveals the medium’s ability to push out messaging through sustained and creative ways.

The trial delivered a 37% year-on-year ROI increase, due to what Analytic Partners says is down to creative consistency and sustained media support. The strategy also lifted digital video by 13%, socials by 11%, and search by 4%.

Managing director of Analytic Partners, Paul Sinkinson said the data shows that “running creative for longer durations yields significantly higher returns”.

“Brand-focused advertising outperforms performance-driven campaigns 80% of the time, proving it’s the most effective choice for marketers seeking stronger ROI in an omnichannel world.

“Notably, brands that dedicate at least 30% of their media spend to brand-building efforts consistently achieve the highest returns. Campaigns with 11-20 weeks of media support see a 34% increase to ROI, while campaigns lasting 21–30 weeks lift ROI by 60%, and those extending beyond 31 weeks deliver a 65% boost,” he said.

Nespresso’s findings align with earlier trials conducted by Analytic Partners. For example, a trial involving liquor giant Dan Murphy’s saw a 19% uplift in Out of Home (OOH) results, 18% boost in TV impact, and a 14%
enhancement in online video effectiveness through the integration of brand-value radio ads.

The data also revealed that by increasing the weight of brand advertising versus the amount placed on price
messaging, McDonald’s Australia achieved a 13% increase in radio ROI. They also saw a 14% lift in TV, 12% in social media, and 3% in online video by increasing their investment in brand radio. These case studies highlight radio’s capability to enhance cross-channel performance and deliver tangible ROI.

Chief executive officer of CRA, Lizzie Young, commented on the research, “Radio delivers more than reach; it drives emotional connection, creative synergy, and measurable impact. By evolving advertising approaches to leverage audio’s distinctive strengths, brands can unlock new levels of performance and establish deeper connections with their audience.”

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Foxcatcher has appointed Karan Kent as the APAC head of sales, reporting to managing director Marcus Betschel.

In the role, Karan will lead sales strategy for the RyanCap agency across the APAC region, focusing on building new and strengthening existing client relationships.

His brings a wealth of experience from his time at GumGum where he lead building partnerships and drove revenue growth. He also brings expertise in contextual advertise and data-driven marketing solutions.

Betschel said: “We’re thrilled to welcome Karan to the Foxcatcher family. His deep understanding of the sales landscape and his innovative mindset make him the perfect leader to take our APAC sales strategy to the next level.

“As we continue to grow and deliver cutting-edge solutions, Karan’s appointment ensures we remain a step ahead in creating value for our clients.”

Kent said of his new role: “I’m excited to join a company that’s achieving remarkable growth and pushing boundaries with its data-driven solutions. Foxcatcher’s vision for the future of programmatic resonates deeply with me, and I look forward to working with Marcus and the team to deliver value to our clients.”

Last year, PubMatic and Foxcatcher partnered to make the Foxcatcher’s WorldView platform available to programmatic advertisers for the first time, via an integration with PubMatic’s Connect.

WorldView, a customer data platform (CDP), aims to connect brands, customers and media without collecting personal or sensitive information, ensuring data privacy while enabling scalable activation. Through WorldView, advertisers can build customised modelled audience segments and achieve privacy-safe targeting through FoxID, Foxcatcher’s proprietary identity solution.

PubMatic’s Connect leverages addressable signals from across the internet with efficient, ROI-driven, privacy-compliant data targeting on the sell-side. The integration with WorldView enables advertisers to align custom-built audience segments with robust contextual data signals from Connect, to engage audiences across PubMatic‘s premium Australian supply.

Top image: Karan Kent

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The Sydney Swans are shaking up sports storytelling with their 2025 brand film, Here’s The Rundown, premiering Tuesday, 11th February.

The film, which was done in collaboration with Seven’s in-house creative team Red Engine, takes a fresh, contemporary approach, designed to connect with a younger, more diverse audience while celebrating the club’s pride, resilience, and deep fan connection.

Directed by Kiera Leather, alongside creatives Sam Power and Ben Fletcher, the campaign attempts to capture the energy of the SCG, the personality of the players, and the Swans’ unwavering ambition heading into the new season.

“I wanted to capture how, from my own experience, both the players and fans uphold the club’s values
and ethos,” Kiera said. “This is what makes being a Swan so special. Our campaign strives to bring that
sense of belonging to the whole of Sydney.”

Drones, slow-motion captures, and authoritative storytelling converge to highlight the emotional connections that come with becoming a Swans member.

Sydney Swans executive general manager of marketing and communications, Loretta Johns, said the
film captures the experience of game day by putting fans in the frame.

“A Swans game at the SCG is a truly unique Sydney experience and we are thrilled that Red Engine has
been able to capture the emotion and energy of that experience from a fan’s perspective.

“While the film highlights some of the incredible things our athletes do on the field, it also offers a snapshot into their personalities off the field, which we know helps build the connection with our members and fans.

“After achieving record crowds and record membership last year we’re excited that the 2025 season is almost here and look forward to seeing a packed SCG on Friday, March 7 for our Opening Round match against Hawthorn,” Johns said.

‘Here’s The Rundown’ will debut across Sydney Swans social channels (YouTube, Instagram, Facebook,
Tik Tok) and broadcast partnerships.

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Legendary Melbourne broadcaster Philip Brady OAM has passed away at 85, just a week after announcing his retirement following nearly 67 years on air.

Brady was diagnosed with cancer on 5 December, choosing to keep the news private, sharing it only with close friends.

3AW host Tom Elliott made the announcement this morning.

“Very early this morning, Philip Brady died,” Elliott told listeners, revealing he knew of Brady’s cancer diagnosis late last year.

“He said he was riddled with cancer and didn’t expect to last too long, so for me, this isn’t a surprise. But it is very sad because I don’t think we’ll see the likes of Philip Brady again,” he said.

Meanwhile, in an email sent to staff, 3AW station manager Stephen Beers said Brady had a short battle with cancer but “his spirits were always high while going through treatment”.

“Philip had an amazing career in both radio and television dating back to 1958 at GTV 9,” Beers said.

Brady signed off for the last time on January 12, hosting his final episode of Remember When on 3AW, before officially announcing his retirement on February 2.

A recorded message was played to listeners, with Brady telling the audience he was “very sad to be leaving you”.

“It’s come to this after 67 years in the business, I’m quitting … it’s time to move over and give the younger guys a go,” he said.

Brady started working at 3AW back in 1971.

Pictured: Philip Brady

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AI platform Springboards has launched to help creative professionals and teams in the advertising industry explore more ideas faster and find new inspiration.

The platform was co-founded by former agency strategists Pip Bingemann and Amy Tucker, and has the backing of agencies around the world, such as Cummins & Partners, Jellyfish, BMF, TRG, SAMY, and Cutwater.

Springboards appears set to reshape the future of creativity with $5 million in funding from Australian venture capital firm, Blackbird Ventures.

“Creativity in advertising is under siege,” said Amy Tucker, co-founder of Springboards. “Shrinking margins, skyrocketing pitching costs, and ever-higher client expectations are threatening the craft. We built Springboards to help creatives do what they do best: think big, explore boldly, and stay original.”

As part of the first Google for Startups Accelerator: AI First program, Springboards generate 10–30x more creative diversity than OpenAI, Anthropic, and Gemini combined.

The platform offers nine AI-powered tools that amplify creativity at every stage of the process – from uncovering insights and generating ideas to validating concepts and crafting campaigns.

Unlike other AI platforms, Springboards has a grasp of the complexity of creativity and collaboration between human and AI, becoming a creative partner.

Other key features include the Insights Digger, Campaign Concepts, Validator Tool and Sparks Feature.

“We designed Springboards to be a partner, not a replacement,” said Pip Bingemann, co-founder of Springboards.”AI shouldn’t rob the industry of its soul—it should expand its creative horizons. With our platform, agencies can explore more possibilities, break conventions, and push the ceiling of creativity, ensuring the work isn’t just faster, but more daring, original, and inspired.”

‘Human x Springboards AI = the modern strategy team’

“Springboards is a game-changer,” said Tim Collier, national head of strategy at Cummins & Partners.

“It helps teams focus on the most interesting and challenging part of our jobs—finding original ideas that connect deeply with people. It’s not about devaluing creativity; it’s about enhancing it.”

Christina Aventi, chief strategy officer at BMF called Springboards “as a handy go-to tool.” She added: “It helps uncover insights to marinate upon that improve your thinking… it gives you stimulus that can shift where you were first going, to push you into more interesting places. More insights, more ideas and it’s actually surprising what triggers a new thread of your thinking, helping you make connections you wouldn’t ordinarily.”

“Springboards is like having a well-trained strategy partner who can sharpen your ideas or gut-check your thinking in the blink of an eye,” says Monik Ladha, brand strategy director, at TRG. “It’s changing the way I approach assignments and workshopping problems.”

Tom Roach, VP brand strategy, at Jellyfish, part of the Brandtech Group said: “Our strategists love using Springboards. It’s proving incredibly useful. Helping them get to great briefs and ideas faster than ever before. It’s like having a strategy partner always by your side to riff with and bounce ideas off.

“It’s great when you’re a global team like us, everyone’s dispersed around the globe, and some strategists are the only ones in their market. It’s quickly become part of our daily AI diet. To us having Humans-in-the-loop is incredibly important. Maybe a Human x Springboards AI = the modern strategy team?”

Top image: Springboards chief technology officer Kieran Browne, Amy Tucker and Pip Bingemann

Vogue Living has announced the return of the VL50 Awards, celebrating Australia’s top 50 creative talents in design, architecture, landscape, product design, and art.

Luxury furniture brand Mobilia is back as presenting partner, joined by Range Rover, Waterford, Ruinart, and newcomers Jo Malone London and Programa.

Now in its second year, the awards spotlight both established and emerging names shaping the future of Australian design.

Vogue Living editor-in-chief Rebecca Caratti said: “For almost six decades, Vogue Living has built a devoted and engaged following, not just within our shores, but around the world, with the brand’s distinctively Australian perspective on design and style.

“Mobilia shares our passion and unwavering enthusiasm for the design industry. We are delighted to welcome them back as our presenting partner for the 2025 VL50 Awards as we continue to champion Australia’s rich, inspiring and diverse creative talent on a global stage, and give them the recognition they deserve.”

The VL50 Awards will take centre stage on February 27 at the Museum of Contemporary Art Australia, celebrating the nation’s top design talent.

Coinciding with the event, Vogue Living’s March/April issue will hit shelves the same day, unveiling the highly anticipated list of Australia’s 50 best creatives.

Mobilia’s director Salvatore Fazzari said: “We are excited to be presenting the VL50 Awards again in 2025. This event and partnership creates a wonderful opportunity for us to support our local design community and celebrate the amazing work of some of the finest and most exciting designers, architects and artists in Australia.

“Vogue Living’s heritage, design integrity and passion to propel the work of Australian designers and artists on an international level is in line with our values, thinking and vision for Australian design and we are proud to be part of this partnership.”

The 2025 VL50 Awards will honour Australia’s top creative minds across both established and emerging categories, including Interior Designer, Architect, Artist, Product Designer, Landscape Designer, and Creative of the Year.

Winners will be unveiled in Vogue Living’s May/June issue, hitting shelves on May 1.

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With more than 100 million viewers tuning in, the Super Bowl is one of the biggest televised events in the world. That kind of audience doesn’t come cheap. This year, brands shelled out a staggering $8 million for a mere 30 seconds of airtime.

But shelling out the big bucks isn’t enough on its own. The goal is to be the ad that everyone talks about afterwards. So, which of this year’s crop of ads is destined for post-game talkability superstardom?

I’ve handpicked three of my top contenders.

Mountain Dew

This ad was pure chaos, and is my number one favourite. The first 10 seconds were admittedly a bit weak, but after that, it was an absolute sensory overload. Bright visuals, absurd moments, and Kiss from a Rose by Seal blasting in the background. It’s a song everyone recognises, and even if they don’t, the sheer madness of the ad made people stop and ask: what is happening?

Another clever move is that they used the ad to introduce a new flavour. This is likely the first big marketing push for it, meaning they can track sales spikes after the ad airs.

This ad is loud, unpredictable, and meme-worthy. That’s why it’s my number one.

Uber Eats

Coming in second is Uber Eats’ advert featuring Matthew McConaughey. This one ticked all the right boxes. First, it had an incredible hook: “From the very beginning, football has been a conspiracy to make us hungry.”

Three seconds in, and we’re already deep into a bizarre theory. That’s the kind of thing that keeps people watching. Whether or not you wanted to watch the advert, you were already wondering what he was on about. They opened a curiosity loop, making us need to see how it played out.

On top of that, the ad cleverly tied into the Super Bowl itself. This is what’s called an identity trigger. If you’re watching football and an advert comes on specifically referencing football, you’re naturally going to pay attention.

The ad eventually broke the fourth wall, showing McConaughey in a therapy session where he realised, of course, that the conspiracy theory wasn’t actually true. But by that point, the advert had done its job. It hooked you, entertained you, and subtly placed Uber Eats in your head without aggressively pushing an offer.

Stella Artois

This ad took celebrity endorsements to the next level. Super Bowl ads always have famous faces, but this one went all in. David Beckham? Check. A big, ridiculous story? Check.

This ad was a masterclass in storytelling, with David Beckham meeting his long lost brother, called Dave Beckham (and played by Matt Damon), for a barbeque and a bottle of Stella. The ad opens with Beckham’s parents saying: “You have a twin brother we never told you about.”

Boom. You’re hooked. It’s not selling anything yet. It’s just telling a story, and stories are powerful because people need to know how they end.

By the 14-second mark, the audience was fully engaged. We were all waiting to see who the twin brother was. Then came the big reveal of Dave Beckham. The banter about his level of fame (comparing him to Matt Damon and Ben Affleck) kept the humour light and engaging, and never pushed the product down your throats.

Meanwhile, Stella was still able to sneak in just enough branding to stay memorable.

So I’ve given you my ranking, but what do the stats say?

A simple way to track the winner is through online engagement. At the time of writing, Stella is the clear winner with 1.36m views and climbing. Mountain Dew’s Kiss From A Lime has around half a million views, while Uber Eats was trailing behind with 230k.

But while YouTube views give us some induction of virality, the real test is yet to come. Because at the end of the day, the only metric that truly matters is ROI. And that means shifting a whole lot of soft drinks, beer, and takeaways.

–

Top image: Sabri Suby

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The Dog House Australia is returning for a fourth season and yet another chance for hopeful pups and families to find love.

The hit series returns Wednesday, February 26, at 7.30pm on 10 and 10 Play, following the emotional journey of rescue dogs finding their forever homes.

Since its debut, the show has helped rehome 160 dogs, proving that a second chance can change lives – both canine and human.

In conjunction with the dedicated matchmakers at the Animal Welfare League NSW – the show follows a thorough match-making process between pooches and their potential new homes.

The AWL is an organisation dedicated to providing expert care to surrendered, neglected, and abandoned companion animals across NSW. The charity has a ‘Getting to Zero’ philosophy, meaning they’re aiming to get to zero euthanasia of healthy and treatable cats and dogs.

The sneak peek above shows just some of the four-legged friends featured meeting with their potential future families.

This season, there are 75 pups in the mix, so expect plenty of tail wags, teary moments, and the most heartwarming TV blind dates yet.

The first season, which aired October 2021, brought in high ratings for 10. The show was one of the top entertainment programs of the summer and consistently made it to the top 10 in the TV ratings.

Ahead of the launch of the first season, Mediaweek spoke to 10 ViacomCBS’ head of factual Sarah Thornton ahead of the season one premiere about how the show came together and what makes it so genuine.

When selecting the people to feature on the show, Thornton said they looked for two main things.

“Number one, they had to genuinely be looking for a dog! But number two, we were looking to represent a really diverse cross-section of Australia. The amazing thing about getting a dog is it crosses all barriers. It’s every socio-economic group, all ethnicities, urban, suburban, rural, there are people from all walks of life in Australia who were looking to adopt a dog.

“For us, it was incredibly important that we had genuine representation across the stories, and you’ll see that – the stories are incredibly diverse and unexpected. We also were looking for people with something going on in their life – it didn’t have to be a tragedy, it could also be something exciting or funny, or something surprising. But we were looking for people with a story to tell and a reason for looking for love from a four-legged friend.”

The Dog House Australia premieres Wednesday, 26 February At 7.30pm only On 10 And 10 Play

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Snapchat has introduced new features to the platform, giving Snapchatters more ways of staying connected to friends and family, learning about the world, and expressing personal style remain important throughout the year.

Among the new features are additional ways to Snap. Snapchat+ subscribers will have access to a new feature called Snap Modes, which will amplify interactions between friends and family through added tone, customisation, and fun.

Subscribers can now send self-destructing Snaps that vanish if not viewed within a set time frame—highlights it as a “you had to be there” moment. More Snap Mode options will be introduced soon.

Custom Gen AI stickers will be available to Snapchat+ subscribers in the US that will be tailored to their messages. By Typing in the chat bar and tapping the sticker search button, users will be able to generate stickers that can be incorporated a text.

The platform is also bringing in a fresh new wardrobe and expanded styles for Bitmoji avatars to keep up with current fashion trends including new long skirts and dresses.

Also in time for Valentine’s Day are themed outfits with a heart-shaped purse and a fuzzy heart costume.

In anticipation of award season, Snapchatters will be able to use AI-powered Lens that can place them and a friend into a movie to create a cinematic moment.

These new developments on Snap comes after the platform partnered with the NFL to build excitement for Super Bowl LIX with a range of experiences for Snapchatters in New Orleans and around the world.

Among the experiences is the launch of the official NFL x Snapchat Creator Program which brings Snap Stars to the Super Bowl, the Snapchat Cam will also be integrated into Caesars Superdome in New Orleans, Chiefs and Eagles AR Lenses and content, and the NFL Live Jersey Lens.

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