The tension between Abbie Chatfield and feminist activist Clementine Ford has reached new heights, with Chatfield breaking down during a video urging Ford to “stop” the war-of-words.
It all started with Ford’s sharp criticism of Chatfield’s political views, particularly her stance on Palestine, sparking a storm of social media posts and emotional responses.
But that’s now evolved into a personal war of words, with both sides accusing the other of toxic behaviour and harassment.
Chatfield, the 29-year-old influencer and host of the popular podcast It’s A Lot, has not held back in addressing Ford’s critique.
The latest escalation came when Chatfield shared a tearful Instagram video accusing Ford of “dehumanising” her. In the post, Chatfield implored Ford to stop spreading harmful lies about her and her intentions.
“I get it enough from people on the right and trolls and men that hate me and want to threaten me and want me dead. Please stop dehumanising me,” Chatfield said through tears.
“Please, you can criticise my content you can criticise my work just I’m begging you to stop lying about my intentions. Stop saying that I have a personality disorder. You don’t know me. This is so f****ing triggering I just want her to stop.”
She went on to plead for Ford to stop using her posts about Gaza as a platform for more attacks.
“Please stop discouraging me from posting about Gaza. It isn’t working, you’re discouraging others and you’re encouraging trolling of me. Please, like, I’m just trying to do what I can to help,” Chatfield stated, expressing frustration over Ford’s comments.
“I’m scared of her. Please stop, Clementine. I am begging you to stop,” she cried. Chatfield also pointed out the dangers of such online harassment, stating, “You are f***ing my mental health. Please f***ing stop.”
Abbie Chatfield breaking down in a video in which she pleads with Clementine Ford to leave her alone.
The root of the online altercation lies in Ford’s vocal critique of Chatfield’s political views and her actions during the recent federal election.
Ford, a feminist writer and outspoken pro-Palestine activist, took to her social media to criticise what she sees as Chatfield’s performative activism.
In one post, Ford accused Chatfield of using social issues as a personal platform for self-promotion.
“Abbie Chatfield is first and foremost all about Abbie Chatfield,” Ford wrote on Threads, claiming that Chatfield’s political stances were more about promoting herself than genuinely supporting causes.
In another post, Ford doubled down on her criticism, saying, “No amount of fake crying to try to launder her complicity in doing PR for genocide supporters can change that.”
Author and feminist Clementine Ford
Ford also lambasted Chatfield’s lack of depth when discussing political issues. “She is completely shallow and frequently unable to actually prosecute an argument she hasn’t cobbled together from uncredited sound bites,” Ford claimed, accusing the media personality of not fully understanding the topics she discusses.
In her Substack, Ford also wrote that Chatfield was “profiting from the performance of being politically engaged and presenting herself as a voice of feminist and political authority while railing against anyone who demands more from her than shallow aphorisms and platforming genocide supporters.”
She continued:”The fact she is so incapable of elaborating beyond these soundbites isn’t so much evidence she doesn’t really know what she’s talking about beyond an introductory level; it’s that she doesn’t believe she even needs to.”
Ford’s critiques come amid Chatfield’s public support for the Greens party and outspoken stance on the Israel-Gaza conflict.
Chatfield with Greens leader Adam Bandt who appeared on her podcast
She has publicly backed the party and its leader Adam Bandt, and encouraged her followers to get involved in political discussions.
Chatfield had also previously interviewed Prime Minister Anthony Albanese in February, where they discussed a range of issues including climate change, women’s rights, and the ongoing Middle East conflict.
A major new study presented at the European Congress on Obesity has revealed that children consume significantly more calories after viewing just five minutes of junk food advertising, regardless of format or media channel.
The findings have now raised fresh questions about the scope and enforcement of advertising regulations aimed at protecting young audiences.
Conducted by researchers from the University of Liverpool in the UK, the randomised crossover trial involved 240 children aged 7 to 15 from schools in Merseyside.
Participants were shown five minutes of advertising for high-fat, sugar and salt (HFSS) products, including both product-specific and brand-only campaigns. They were then offered snacks and a lunch meal.
The authors calculated that, after the adverts, the children consumed 58 calories more in snacks and ate 73 more calories for lunch than after exposure to non-food ads.
Junk food.
Notably, the findings were consistent regardless of the format, TV-style video ads, static billboards, podcast spots, or social media posts all had a similar impact. Even ads without images of food, just logos or brand mascots, triggered an increase in consumption, suggesting that mere brand cues can stimulate appetite and influence eating behaviours in young viewers.
The study’s findings could have significant implications for the Australian media and advertising industry as governments globally move toward tightening restrictions on HFSS marketing.
In the UK, a pre-9pm ban on junk food advertising across TV and digital is scheduled to begin in October, though researchers and advocacy groups are now pointing to potential loopholes.
Katharine Jenner, director of the Obesity Health Alliance, said the study sends a “clear message to policymakers: food advertising is driving excess calorie intake in children.” She warned that brand-only advertising on billboards and public transport could continue to undermine public health efforts.
The research also found that children with higher BMI scores were even more susceptible to increased calorie intake after exposure, underscoring the potential long-term health risks.
With media and marketing strategies under renewed scrutiny, the study adds pressure on regulators and advertisers to revisit the broader influence of brand messaging across all channels, not just product-specific promotions, especially when it comes to children’s health.
From 1 July, 2025, junk food advertising will be banned across Adelaide’s buses, trains, and trams as part of a bold South Australian government initiative to combat rising obesity rates.
The policy, a first of its kind in Australia, will outlaw promotions for unhealthy products like soft drinks, confectionery, and chips on public transport.
Panasonic has launched a new campaign for its hairdryer range with new end-to-end creative strategy and production from Awaken.
The aim of the multi-channel campaign is to drive results across social media, ecommerce sites and digital out-of-home, paired cleverly crafted messaging with eye-catching creative to drive both brand awareness and product consideration across key audience touchpoints.
The media agency has focused on optimising content across select channels for consistency and impact at specific stages of the consumer journey, utilising TikTok and out-of-home for attention and scale, while optimising paid media, Google Search and Amazon Ads in real-time to maximise reach, engagement and conversion and VMO Active in health clubs to reach style and health-conscious consumers in a premium, high attention and natural environment.
The Awaken team also created a series of high-impact visual assets, including video and static imagery, that heroed Panasonic’s flagship hairdryer, the EH-NA0J, celebrating its breakthrough Moisture+nanoe technology, which delivers deep hydration while reducing styling damage.
The campaign also includes other products in Panasonic’s premium hairdryer range, the EH-NA98 known for its scalp and skin mode and is ideal for holistic haircare, and the EH-NA9N with its fast-drying, and smooth-finish technology perfect for everyday styling.
“Our long-time collaboration with Panasonic continues with this latest campaign, which celebrates the brand’s commitment to innovation and delivering best-in-class products for its customers,” Awaken CEO, Chris Parker, said.
“Panasonic has a deep understanding of its customers and what they want. They know that for their shoppers, a hairdryer is so much more than an appliance – it’s an investment in their hair and a critical part of their daily self-care routine. We wanted to lean into that sentiment with this new campaign, which really heroes Panasonic’s tech innovation and product benefits.
“Our strategy was to meet style-savvy, tech-forward consumers seeking premium haircare solutions where they are – whether it’s on their daily commute, scrolling on Instagram or TikTok, or shopping online; our media mix and smart audience targeting is designed to capture customers in the moment.”
Emma Laing, Panasonic Australia’s Marketing Communications Manager, said: “We’re thrilled to bring this campaign to life with the team at Awaken. Their ability to combine strategic media thinking with beautiful, compelling creative has helped us hero our latest innovation in a way that really resonates with our customers.
‘This range is about elevating the everyday, delivering premium performance, hair health and self-care benefits, and the campaign reflects that perfectly.”
Larry Emdur has shrugged off speculation about his future as host of Seven’s The Chase Australia, insisting the long-running game show is in strong shape despite recent ratings pressure.
The veteran television presenter, who even jokes about being “TV’s most axed man”, addressed the rumours during an interview with GOLD 101.7’s Jonesy and Amanda, saying, “The Chase is going well… it’s going great,” amid mounting scrutiny over the show’s performance and his role at the helm.
The comments come in response to a column published by news.com.au’s Annette Sharp, which claimed Emdur’s position was “under review” and that Seven was exploring alternative programming options to reverse a downturn in audience numbers.
Emdur even jokes about being “TV’s most axed man” on his own Instagram page
Since its debut in January 2024, Nine’s Tipping Point, hosted by Todd Woodbridge, has made a significant dent in The Chase’s once-dominant position in the competitive 5pm slot.
In the five-city metro markets, Tipping Point is averaging a lead of 113,000 viewers over The Chase, based on year-on-year data from weeks 5 to 16.
It’s a shift that has intensified pressure within Seven, especially given the crucial role the 5pm game show plays in delivering audiences to the 6pm news bulletin.
According to OzTAM data, Tipping Point drew an average audience of 504,000 last week, up 19% compared to the same period last year. By contrast, The Chase averaged 355,000 viewers, down 6% year-on-year.
The show hasn’t won a full ratings week in the five-city metros since February, adding fuel to speculation about its long-term stability.
Over the past five weekdays (Friday 2 May – Thursday 8 May) alone Tipping Point has consistently outperformed The Chase.
On each of these days, Tipping Point drew a larger national audience, with the margin varying between a narrow 1.4% lead on 6 May 6 to a more significant 13.6% gap on 8 May.
Across the five-day period from May 2 to May 8, Tipping Point averaged approximately 1.46 million viewers, while The Chase averaged around 1.37 million, a difference of nearly 7%.
Tipping Point host Todd Woodbridge
A spokesperson for Seven flatly denied that Emdur’s position is in jeopardy.
“The Chase doesn’t need reviving! It remains very competitive in its timeslot, delivering a big audience night in, night out,” the network said in a statement to Mediaweek. “Larry will absolutely continue to host The Chase.”
ACM has expanded its travel brand Explore, alongside the release of an exclusive study into regional travellers’ habits.
The new Explore website is now seamlessly integrated into 85 premium regional news websites, enhancing SEO, engagement, and editorial offerings. Through the mobile-first approach, Explore offers faster loading times and intuitive navigation, ensuring a premium user experience. Its growing social media presence features compelling video content and premium stories across Instagram, YouTube, and TikTok.
Explore travel content is maximising visibility by prominently being featured on the main navigation of all ACM news websites, providing easy access for passionate travellers and delivering a high-value audience for advertisers. A refreshed, magazine-style web experience encourages users to dream, plan, and book their next adventure, with interactive features including travel surveys, quizzes, and direct engagement with top travel writers.
The Saturday Explore magazine has also expanded its print footprint to 28 markets, delivering travel deals, inspiration, and expert advice to an even larger regional audience. Advertisers now have access to an unmatched cross-platform regional reach.
The Explore travel liftout launched in 2020 across 14 newspapers and is now part of ACM’s newly launched Weekend Collection of 28 mastheads, offering diverse content alongside travel, including an expanded lifestyle section (Relax), with features, food, wine, and finance; a TV and entertainment guide, local ‘what’s on’ guides, quizzes, crosswords, and regional property news from View.com.au. In line with the digital expansion, the Explore liftout will receive a facelift, with new sections and must-read columns.
Advertisers can also leverage the scale of ACM’s digital network, which reaches over 3.5 million Australians each month, including a highly engaged and active travel audience.
The Explore expansion follows ACM’s exclusive consumer study into regional travellers, revealing a highly engaged and active travel audience. Explore readers are constantly travelling here and abroad: almost three quarters (74%) have holidayed in the last 12 months, with 36% of these travellers already booking and paying for their next trip.
Many readers are focused on international travel, 68% of those who have booked a trip recently are heading overseas. More than a quarter are looking to travel domestically, but it is a much more spontaneous decision.
A trend from Explore readers are holidays where the ‘journey’ is core to the experience, such as cruising, group tours, rail journeys and history adventures. These trips attract higher budgets with over 12% spending more than $25,000 on these types of holidays.
The Explore study challenged misconceptions about regional travel and reveal that living regionally was not a barrier to air travel. The study found 68% of Explore readers live within two hours of an international airport, and 92% within reach of a domestic airport. Even those living further away book longer trips.
Among those who live 2+ hours from an airport, it’s no barrier to them going on holiday (63% agree), in fact, those who live further from an airport book longer holidays.
The study revealed that Explore readers have more time to take longer holidays, with 23% of those planning a trip looking to stay for more than 22 nights. For those who have booked a 22+ night holiday, 29% have budgeted over $25,000 before they have even left home.
Activities, sightseeing and unique and different experiences are top priorities for Explore readers. While value is key, Explore readers readers seek choice when it comes to accommodation and dining options. Personal safety and hygiene practices are also important, so both should be considered when communicating travel experiences.
The study also found that 86% of readers are members of frequent flyer programs, and while price and airline reputation influence their choices, they are willing to pay more for direct flights. Meanwhile, 21% of Explore readers engage with cruising – 79% prefer ocean cruises, 28% river cruises, and 12% expedition-style experiences. This also represents a good opportunity for those who are new to cruising.
Kate Cox
“Our expanded Explore travel offering reflects ACM’s ongoing investment in content and advertising solutions, as well as our commitment to our readers,” ACM Head of Content, Kate Cox, said.
“We know Australians love to travel, and our engaged regional audience relies heavily on Explore for inspiration and planning, with 71% of our readers exclusively engaging with Explore, rather than major metro travel sections. We are focused on delivering a premium experience tailored to regional Australians.
“Explore is designed to connect and engage those regional Australians who are constantly travelling, particularly the majority of our readers who love to indulge in travel planning; 82% find Explore’s content inspiring. The enhanced digital and print offering is part of our vision to publish regional Australia’s best travel content, delivering a better experience for our audience.”
Sarah Dasey
Sarah Dasey, ACM National Head of Travel – Commercial, said: “ACM is passionate about providing premium experiences for our readers, and market-leading advertising environments for our advertisers.
“Explore provides a dedicated environment for brands to bring their business to life and connect with engaged travellers actively seeking inspiration, deals, and expert advice. Our readers are not just dreaming about travel – 84% have taken action after engaging with Explore content.
“Whether planning a local escape, an overseas adventure, or a cruise, Explore’s print and digital product offering is an opportunity for brands to meet travellers as they’re planning their next great adventure.”
Karen Deveson
Karen Deveson, Managing Director of small group travel specialist, Collette, said: “ACM’s Explore has been a game changer for connecting Collette with regional Australian travellers. Explore connects us to regional Australians in a premium environment inspiring travellers to new ways of travel and new destinations.
“We know the regional market loves Collette Explorations – our small group itineraries – and Explore has been our lead platform to showcase this. We love the commitment to travel and depth of content created by the Explore team.”
When Kieran Simpson, Head of Digital at The Project, Roving Enterprises/Paramount, was nominated for Social Media Specialist at Mediaweek’s 2024 Next of the Best Awards, he didn’t expect to win, let alone for it to help solidify his standing within the broadcast and advertising landscape.
“I won the award for Social Media Specialist, which I was really surprised by,” said Simpson. “Ten approached me and said, ‘You should enter.’ I thought, really? Am I that good? But it was so nice to be nominated, and to win was a great surprise. I’ve been doing digital for nearly ten years, so it meant a lot.”
Since that win, Simpson says the recognition has not only boosted his confidence, but also led to valuable connections and conversations that have had real operational outcomes.
“I met people working in similar roles across TV and radio. It was a great night for building connections that actually lasted,” he said.
Head of Digital at The Project, Kieran Simpson
Now four years into his role, Simpson leads a small, agile team that transforms The Project’s on-air content into platform-specific digital assets. His remit goes far beyond simple reposting.
“Anything that doesn’t live on the television,” is how he describes it. “We use broadcast as the primary means of reaching our audience, but we also repurpose that content across different formats, social, editorial, on-demand. It’s a role that’s constantly evolving.”
That evolution is largely driven by data, platform trends, and audience behaviour. From refining segment edits to optimising thumbnails and copy, his team tailors each post to its intended audience, whether they’re scrolling TikTok, browsing YouTube, or swiping through Instagram.
“We don’t just post what’s on TV online. We refine, repurpose, and repackage for different platforms. We only push out 2–3 clips a night from a pool of nine. Each one is tailored to a specific audience: TikTok is different from Instagram, and both are different from Facebook. Understanding that takes time and a lot of data,” Simpson explained.
You can hear Kieran’s take on his job, the future and his win at Next of the Best here:
For Simpson, the day begins well before the 6:30pm TV broadcast.
“I start at around 8:30am. I scan headlines, prep morning stories for socials, head to work. From there it’s a mix of video planning, scripting, guest research, and collaborating with the editorial team,” he explains.
“6:30pm is peak chaos, we’re cutting segments, pushing content, editing for YouTube, and moderating comments until late. It’s full-on, but I love it.”
While his background in radio helped shape his news instincts, he’s had to learn, sometimes the hard way, that digital execution in a television ecosystem requires a long game.
“The first year here was test, learn, fail. We’ve only now found our rhythm, what works for the show, what resonates online. It takes time,” Simpson said.
For Simpson, winning Next of the Best helped crystallise the importance of his work at a time when digital producers are often behind the curtain.
“You’re amongst your peers and people you respect,” he said of the awards night. “And then you win, and have to give a speech, which is not my forte. I thanked a lot of people… maybe too many. My partner was there, and I can’t remember if I thanked her… so thanks, Matty, a year later!”
But beyond the spotlight, Simpson says the greatest value of entering the awards was the community it opened up.
“If you go to work every day and you’re proud of what you do, that’s enough,” he said.
Simpson has this for anyone tossing up the idea on whether or not to enter: “Even if you don’t win, meeting people in your industry is invaluable. You realise you’re not the only one facing challenges. And those conversations help you feel seen. It’s worth it for that alone.”
The awards will be presented on Friday, 13 June at W Sydney with an unforgettable evening. For more details and to buy tickets, head here.
Due to strong demand and an ongoing interest from across the industry, Mediaweek has extended the entry deadline for the Next of the Best Awards, 2025.
Entries will now be accepted until Wednesday, 14 May at 11.59pm.
The updated deadline gives emerging media leaders and creative teams additional time to finalise their submissions and ensure their achievements are recognised.
Mediaweek’s Head of Content Frances Sheen said, “The calibre of entries so far has been exceptional. Extending the deadline gives more space for those final entries and allows us to shine a spotlight on the rising stars of the industry.”
The Next of the Best Awards celebrate Australia’s emerging media talent – the stars driving innovation, creativity, and change.
Finalists will be announced in early June, with winners revealed at the live event on Thursday, 13 June.
These are not age-based awards, but open to anyone who has been working in their current field or role for 15 years or less. You can download the criteria here.
Recognising professionals who drive growth, innovation, and engagement in the audio and podcasting industries.
For professionals making waves in marketing through successful campaigns and innovative thinking.
Celebrating journalistic excellence with a focus on audience impact and storytelling.
Recognising creative talent shaping advertising through originality, campaign success, and audience engagement.
Recognising individuals who excel in the use of data and research to drive decision-making, insights, and innovation within the media industry
For those excelling in strategic marketing, data-driven decision-making, and audience segmentation.
Honouring digital creators who have demonstrated growth, creativity, and monetisation success.
Recognising rising publicists who have successfully shaped media narratives and public perception.
Honouring professionals leveraging AdTech innovations to enhance digital advertising effectiveness.
Recognising media sales professionals driving revenue growth through strategic thinking and strong client relationships.
Celebrating planners and buyers who excel through innovative thinking, data-driven decision-making, and impactful campaign execution.
Recognising emerging talents in publishing who are redefining the industry through editorial excellence, and audience growth across print and online platforms.
Recognising the talent behind the camera of on-screen content production from the big to the small screen through creativity and commercial success.
For exceptional leadership and impact at senior or executive level.
Recognising individuals who have made a significant impact in driving change, innovation, or transformation.
Nominate yourself or someone else for a Mediaweek Next of the Best Award now.
Nine’s high-stakes quiz format continues to draw strong numbers early in the week.
It ranked #3 overall on the night on Monday & Tuesday. It averaged a total TV national reach of 1,959,000, a total TV national audience of 1,081,000 and a BVOD audience of 96,500.
Seven’s rural romance series continued its strong run this week, ranking #7 (Monday) and #5 (Tuesday) across its two airings. It averaged a total TV national reach of 1,551,500, a total TV national audience of 823,500 and a BVOD audience of 106,000.
With ratings holding steady, anticipation is building for an upcoming twist, where host Natalie Gruzlewski is set to introduce new ladies into the mix. The high-impact shake-up, airing from May 12, is designed to upend the farmers’ budding romances and add a dramatic mid-season jolt.
You can meet the farmers here.
The Aussie spin on the UK hit is proving a force in the 5pm slot, airing four nights a week and giving The Chase stiff competition.
Airing every weekday, it ranked #6 (Monday), #6 (Tuesday), #5 (Wednesday), #5 (Thursday), and #4 (Friday) respectively. It averaged a total TV national reach of 1,469,400, a total TV national audience of 808,600 and a BVOD audience of 67,000.
A long-standing 5pm favourite for Seven, the show continues its steady performance despite increasing pressure from Nine’s Tipping Point.
Airing every weekday, it ranked #8 (Monday), #7 (Tuesday), #7 (Wednesday), #7 (Thursday), and #7 (Friday) respectively. It averaged a total TV national reach of 1,375,200, a total TV national audience of 663,800 and a BVOD audience of 48,000.
The show’s consistent performance comes amid speculation about its future. Last week, host Larry Emdur dismissed axing rumours and defended The Chase’s place in the 5pm slot, even as Nine’s Tipping Point gains momentum.
True crime found an audience on Tuesday night, with The Investigators pulling a modest but notable late-evening crowd for Nine.
Airing on Tuesday 6 May, it ranked #10 overall on the night. It recorded a total TV national reach of 1,294,000, a total TV national audience of 467,000 and a BVOD audience of 36,000.
Ten’s flagship cooking series returned with three nights of competition this week, holding solid despite tough competition in the timeslot.
It ranked #11 on Monday, #12 on Tuesday, and #10 on Wednesday. It averaged a total TV national reach of 1,148,667, a total TV national audience of 613,667 and a BVOD audience of 54,333.
Sam Pang Tonight had its season finale, with guest Tom Gleisner, Tom Cashman and Dave Thornton. It ranked #12 overall on Monday 5 May. It recorded a total TV national reach of 1,080,000, a total TV national audience of 522,000 and a BVOD audience of 20,000.
Sam Pang Tonight was renewed for another eight-episode run, which will be airing in late 2025.
Data © OzTAM and Regional TAM 2025. Not to be reproduced, published or communicated (electronically or in hard copy) in whole or in part, without prior written consent of OzTAM and Regional TAM.
Averages are calculated across the relevant weekly episodes of each program, and rounded to the nearest whole number. Rankings are listed by their average total TV national reach.
The Australian radio and wider media community is mourning the loss of Paris Pompor, the long-time radio presenter, DJ, and co-founder of Groovescooter, who passed away last week.
He was 58.
Pompor was best known for his 15-year stint hosting Jumping The Gap on Sydney’s community station 2SER, where he became a fixture of the city’s eclectic music and arts scene. His voice, curation, and infectious energy made him a beloved figure in community radio and far beyond.
A four-hour tribute aired on 2SER this Friday, celebrating Pompor’s work and deep impact on the station. While the cause of death has not been publicly disclosed, tributes have continued to pour in from fellow broadcasters, journalists, musicians, and fans.
In a statement, 2SER described Pompor as “a brilliant DJ, producer and radio presenter whose incredible taste was only outshone by his obvious love of music, deep knowledge, incisive wit and infectious sense of humour.”
Outside the studio, Pompor co-founded Groovescooter with Georgie Zuzak, an independent label and production company that became a mainstay in Sydney’s underground music and arts scene.
From film licensing and documentary screenings to live events and record releases, Groovescooter was part of the city’s cultural fabric for over three decades.
Tributes from across the music and media landscape have described Pompor as an “underground catalyst” and “total music fan.”
Eastside Radio 89.7FM remembered him as someone who “shaped so much of Sydney music” and kickstarted a wave of music documentary screenings that “can best be described as all sold out!”
Former 2SER newsreader Geoff Field also paid tribute, recalling Pompor’s generosity with journalism students and his ever-positive presence in the studio: “A complete and total music fan, a beautiful human and always a joy to run into around the traps or at 2SER over the years.
“Watching him dancing around the studio whilst presenting a radio show always made my day just that little happier.”
After more than two decades at Docklands’ Harbour Esplanade, the Seven Network has officially opened the doors to its new purpose-built Melbourne headquarters at Melbourne Quarter Tower (MQT) on Collins Street.
The move marks a significant chapter in Seven’s broadcast evolution, with 7NEWS Melbourne signing off for the final time from its long-standing Broadcast Centre Melbourne (BCM) on Sunday night.
The first official 6pm news bulletin from the new facility airs tonight, presented by long-time anchor Peter Mitchell alongside Rebecca Maddern and Jane Bunn.
The new site spans two floors of MQT and mirrors the advanced newsroom and studio design of Seven’s Eveleigh headquarters in Sydney.
Jane Bunn, Peter Mitchell and Rebecca Maddern.
It now serves as the central hub for all of Seven’s Melbourne news and sport operations, including 7NEWS afternoon and evening bulletins, Seven Horse Racing, and 7AFL programs Sunday Footy Feast and The Wash Up. A dedicated Sunrise studio space has also been integrated, providing increased flexibility for national broadcasts from Melbourne.
Seven West Media’s Managing Director and CEO Jeff Howard described the move as a strategic investment: “Our new Melbourne home is purpose-built to embrace the future of media, and is setting the benchmark for innovation in broadcast and digital production.
“Our investment in the new Melbourne Quarter Tower facility reflects the importance of the Melbourne market to Seven, which is home to some of our most valued clients and content partners, including the AFL and Cricket Australia.”
Designed with scalability and innovation at its core, the new studio features digital IP-based infrastructure, a full high-definition LED news set, non-linear file-based story editing, and a large-scale sports control room capable of managing major live events—positioning the site as one of the most technologically advanced in the country.
The relocation also marks a personal milestone for Peter Mitchell, who has anchored the 6pm bulletin since the first broadcast from Docklands in 2002.
“There’s a tinge of sadness about it for sure,” Mitchell said. “I take great pride in looking back and knowing that I’ve been the main guy in the history of 7NEWS at Docklands. It has been my privilege to represent all our staff who work so hard during all hours of the day.
“I recall when we first came here and we were part of the Chairman’s bold new plan to help redevelop the western part of Melbourne with a new state-of-the-art football stadium with a retractable roof, and a new central broadcast centre for his network.
“I must admit I thought we would be here for more than 24 years, but that just goes to show you the changing media landscape.
“But the team is very excited about our new home. The first thing the viewers will notice is that our new studio is much bigger, and the clarity and crispness of our new screens, so our graphics will be better and brighter and the whole look will be much cleaner,” he said.
Vogue Australia will make a statement at this year’s Australian Fashion Week with the debut of Vogue Vanguard, a new signature runway experience designed to spotlight the country’s next wave of fashion creatives.
The show, slated as the final runway of the 2025 schedule, marks a strategic evolution for Australia’s foremost fashion media brand as it further cements its influence across fashion, culture, and commerce.
Backed by a powerhouse group of partners including presenting sponsor American Express and supporting partners Range Rover, Shark Beauty, Tequila Don Julio, Pandora, and fashion partner Ksubi, the Vogue Vanguard show will be held on Friday, 16 May.
The event will culminate in the official Australian Fashion Week afterparty, hosted by Ksubi in collaboration with Vogue Australia and American Express.
The magazine said the Vanguard initiative is more than a runway, it’s a platform with purpose.
Launched in 2023 by Editor-in-Chief Christine Centenera, Vogue Vanguard aims to elevate bold new voices across fashion, arts, beauty, sport, and music. The move aligns with Vogue’s strategy to cultivate the next generation of talent while maintaining its editorial authority and cultural relevance.
“Uncovering and supporting the next generation of talent is part of the joy of working at Vogue,” Centenera said.
“Harnessing Vogue’s reach to uplift these creatives has been part of my mission since the beginning. It is crucial to support a thriving creative environment and exciting to be a part of it. We know the next household names are among this inspiring, driven and innovative group.”
Vogue Editor-in-Chief Christine Centenera
Vogue Australia Editorial Director and Publisher Edwina McCann reinforced the brand’s long-standing investment in emerging designers, particularly significant this year as Australian Fashion Week enters a new chapter under the Australian Fashion Council’s stewardship.
“Vogue has a long history of supporting up-and-coming Australian design talent,” McCann said. “With Australian Fashion Week now under the stewardship of the Australian Fashion Council, it is crucial to support this vital pathway for our talent.”
For presenting partner American Express, the event is a high-impact brand alignment, mixing fashion credibility with member exclusivity.
“We’re thrilled to continue our long-standing partnership with Vogue Australia to present Vogue Vanguard as part of Australian Fashion Week in 2025,” said Naysla Edwards, Vice President of Brand, Marketing, and Member Experience at American Express.
“This event and partnership are a true testament and celebration of the phenomenal Australian fashion industry while also providing a platform for the next generation of homegrown talent.”
Amex Platinum and Centurion Card Members will gain exclusive access to both the runway and afterparty, positioning the partnership as a value-add for its high-end clientele.
“The live runway and official afterparty will combine the best in fashion and entertainment, delivering an unforgettable and immersive experience for guests,” Edwards added.
Meanwhile, Ksubi, one of Australian fashion’s most globally recognised brands, returns to the AFW spotlight with a homegrown edge. Its involvement adds serious fashion credibility while underlining its commitment to new voices in the creative scene.
Ksubi Creative Director Pip Edwards
“Since inception, Ksubi has been fuelled by art and creativity, challenging convention and doing things our way,” said Ksubi Creative Director Pip Edwards.
“We’ve now grown up to be one of Australian fashion’s biggest global success stories, and our commitment to cultivating and empowering the next-gen of creatives meant joining Vogue Vanguard as the fashion partner was a natural homecoming to Australian Fashion Week.
“We’ll be closing the week with a party in true Ksubi style, it’s time to come together, revel in human connection and celebrate our thriving industry.”
By Tom Cumberworth, Head of Investment, Innocean
The time really has flown by in a flash, fueled by energy and excitement since I have landed myself in a new exciting role at the start of the year. I have been the new recruit several times before in my career, however this role at Innocean is providing me with a new energising perspective and challenge that I was seeking. A company that brings media and creative together, with a spirit and culture that embraces change and fearlessness.
Sounds great? Yes, for me it does, but I’m aware that the current rate of change in our industry can feel unrelenting for some. The question is, how do we navigate and embrace this new, hyper accelerated world?
One thing is for certain, the old maps are now useless. The legacy structures and strategies, the once sturdy foundations with siloed departments, hierarchical decision making and manual processes, are all now being swept away by the relentless surge of technological advancements and the ever-shifting behaviour of consumers.
Many media agencies and holdco’s remain trapped in outdated models, prioritising pre-packaged solutions that are self-serving and a narrow focus on scale, reach and efficiency, simply adding to the noise for the consumer. Coupled with the current trend of opaque trading models that lack transparency, which erode client trust and fail to deliver the strategic adaptability that today’s market demands.
Many leaders acknowledge the need for change, however translating that acknowledgment into concrete action requires not only courage, but a level of agility and adaptability that some are better positioned to deliver than others. In an industry defined by perpetual evolution, clinging to the familiar may seem like a pragmatic choice. However, passive adaptation is a slow form of obsolescence. Client trust, in this context, isn’t a static asset. It’s an active relationship, demanding evidence of a strategic vision that points not just to the present, but decisively towards the future.
When I considered the role at Innocean, we spoke a lot about the need for greater synchronisation between media and creative processes, with clients wanting integrated campaigns that seamlessly blend creativity and data-driven insights.
Tom Cumberworth
Moving beyond transactional relationships with media partners, we set out to actively seek out partners who share our commitment to pushing creative boundaries and to push the creative envelope to deliver groundbreaking work. The ambition to be recognised as the agency that consistently challenges conventions, explores new possibilities, and inspires our partners to join us in shaping the future of media, doesn’t just feel like an incredible opportunity, it is certainly what I’ve observed clients longing for.
I believe that true innovation isn’t born from homogeneity: It requires a culture of genuine diversity, where varied perspectives, backgrounds, and experiences converge. This isn’t about optics; it’s about building a dynamic talent pool that fuels creativity, challenges assumptions, and unlocks unique insights. We believe that a diverse team is a powerful engine for problem-solving, leading to more innovative and impactful solutions for our clients.
This is already evident in the bold conversations we’re having and the stances the business is taking on critical industry issues and broader societal challenges, like the launch of the Invisible Man whitepaper, which is something that really resonates with me personally. The willingness to engage with initially unsettling ideas often unlocks the most significant progress, a practice we are actively looking to cultivate at Innocean, empowering our individuals and teams to lean into the discomfort as a key ingredient for growth and discovery.
Now well into my fourth month at Innocean, I’ve witnessed a driving force: a commitment to fearless creativity and a determination to redefine industry standards to empower our clients to thrive. I’m thrilled to be in a position to partner with clients and media to deliver on this vision and to create fearless work together.
As James Madden writes in The Australian, Gersh is concerned the ABC risks sounding like “a mouthpiece of government” in the wake of Labor’s sweeping win.
While the ABC already conducts routine election reviews through its Election Coverage Review Committee (ECRC), Gersh says this result was anything but routine, and the response should reflect that.
Full disclosure: I’m a working mother in the media. While all industries are tough in their own ways, there is something uniquely gruelling and relentless about the media.
A recent survey from a not-for-profit group, The Village, found that 70% of those surveyed have left or considered leaving the media industry.
As Kyle Laidlaw reports on TV Blackbox, while it was a big night for Bluey, Fisk, After the Party, and Bad Ancestors, but factual programming truly stole the spotlight.
The Assembly, Stuff the British Stole, and Tony Armstrong’s Extra-ordinary Things all earned top honours, with The Assembly also scoring a separate diversity and inclusion nod.
While the international buzz points to job cuts and big shifts, local agency brands like EssenceMediaCom, Wavemaker and Mindshare are expected to stay intact.
As Danielle Long explains in The Australian, the restructure is part of a broader industry shift, as media groups grapple with a sluggish ad market, economic uncertainty, and the pressures of AI-led efficiency.
As Isabella Rayner writes on Sky News Australia, Robin Patrick says the mix caused “catastrophic” injuries to her legs and left her in intense pain.
The bath soak, Meghan’s gift to a friend on With Love, Meghan, included Epsom and Himalayan salts, arnica oil, and lavender oil.
The change comes in the wake of Donald Trump’s pushback against diversity and inclusion programs in the US.
As Jared Lynch writes in The Australian, once hailed for embracing representation, with moves like casting Rachel Zegler in Snow White and reimagining the dwarfs, the entertainment giant now appears to be softening that approach.