Friday February 13, 2026
‘He’s done nothing’: Karl Stefanovic blasts Angus Taylor after leadership spill
Karl Stefanovic has delivered a blunt verdict on newly elected Liberal leader Angus Taylor, questioning both his impact and the party’s broader performance in the wake of this morning’s leadership spill.
Speaking on KIIS FM’s Kyle and Jackie O Show, the Today Show host did not hold back when informed mid-interview that Taylor had defeated Sussan Ley to claim the Liberal leadership.
“He’s pretty dull,” Stefanovic said.
Continuing, he added: “he’s had every opportunity to go to government in a significant way, and he’s done nothing.”
Leadership spill resets the Liberal Party
Taylor secured the leadership with 34 votes to Ley’s 17 in a swift party room ballot that lasted just 19 minutes, bringing an abrupt end to Ley’s short and turbulent tenure.
Her leadership had come under sustained pressure following two public splits with Coalition partner the Nationals, fuelling concerns about stability and internal cohesion as the opposition attempts to regroup ahead of the next federal election.
Jane Hume was elected deputy leader, defeating Ted O’Brien 30 votes to 20, with one informal vote recorded, installing a new leadership team tasked with steadying the party after months of internal division.
Stefanovic takes aim at Liberal Party divisions
Beyond his criticism of Taylor personally, Stefanovic widened his attack to the Liberal Party’s internal dynamics and recent political conduct.
“They’re so full of factions,” he said.
“They don’t care about anyone else. Can you have let the Australian public down more than they have in the last two months?”
His comments reflect growing scrutiny of the opposition’s ability to present a unified front, particularly amid ongoing economic pressures and global instability.
“When Bondi’s happened, when there’s significant things going on in the world, the cost of living is crunching and all of a sudden it’s been ineffective,” Stefanovic said.
Media reaction underscores political stakes
The remarks, delivered on one of Australia’s highest-rating commercial radio shows, underscore the extent to which leadership changes now play out not just within Parliament, but across the broader media ecosystem.
As Taylor steps into leadership, he inherits a party seeking not just structural stability but also renewed public relevance. Whether he can shift perceptions, including those voiced by influential media figures like Stefanovic, may prove as critical as consolidating internal support.
For now, the Liberal Party has its new leader. The harder task, rebuilding momentum and credibility, starts immediately.
‘Miscommunication’: Keli Holiday addresses race day performance backout
Keli Holiday opened up publicly since the last-minute cancellation of his scheduled gig at Championships Day.
As reported by Rolling Stone Australia, the Aussie artist was on track to perform at the event on April 4 at Randwick Racecourse, before the Australian Turf Club (ATC) broke the news on Wednesday that the show would not go ahead.
Keli Holiday’s management comments
“Keli Holiday’s management has informed the ATC of his decision to withdraw from the performance,” the statement reads.
“We will provide further event updates where necessary.”
Keli comments
Taking to Instagram stories on Thursday, Holiday addressed the cancellation.
“Not playing the races fyi. The gig was booked in this chaotic end of last year as a result of my miscommunication within my team and wasn’t the fault of ATC,” he wrote.
“Apologies all round.”
The news comes after what was a landmark 2025 for Holiday.
Big wins
He opened the ARIA Awards with a star-studded take on his breakout hit “Dancing2” — the ARIA No. 1 single that’s dominated TikTok with more than 84,000 creations in the last four months.
Keli Holiday and girlfriend Abbie Chatfield.
He then took home the trophy for its now-award-winning video, before bringing “Dancing2” to the TikTok Awards in Sydney with some unexpected extras: members of The Wiggles, and girlfriend Abbie Chatfield — the muse for the track — taking part in the performance.
All of this is building toward the next chapter: Capital Fiction, his second full-length studio album, which is set to arrive tomorrow (February 13).
Top Image: Keli Holiday
Court date set for Trump's defamation case against the BBC
US President Donald Trump is set to go to trial against the BBC in February 2027.
The BBC’s application to halt discovery in the defamation case brought by Trump over the broadcaster’s editing of a speech he made was rejected this week, with a trial date set, the ABC reports.
In the lawsuit, Trump accused the BBC of defaming him by editing parts of a January 6, 2021 speech, including one section where he told supporters to march on the Capitol and another where he said “fight like hell”.
He is seeking $US10 billion ($15.1 billion) in damages.
The BBC’s response to Trump’s defamation lawsuit
In November 2025, Trump sent an official letter to the BBC threatening legal action, prompting the resignations of two senior BBC executives.
The BBC has apologised to Trump, admitting their editing gave the mistaken impression that he had directly called for violence from supporters.
In January this year, the broadcaster moved to dismiss the lawsuit, arguing that Trump cannot demonstrate any actual harm, so there is no legal basis for the defamation claim.
“As Plaintiff failed to plead actual damages, claiming only vague ‘harm to his professional and occupational interests,’ his claim fails,” the BBC said.
How Vogue is turning its pages into a stage, and why the industry is watching
Before Canva made mood boards infinite and ChatGPT made imagination frictionless, inspiration carried weight. It arrived as paper. Thick, glossy, deliberate. You tore it out, pinned it up, lived alongside it. For decades, those images came from Vogue, not just documenting culture, but quietly constructing it.
Now, Vogue Australia is turning those pages into something else entirely: a live, scalable storytelling platform.
This morning will see the brand’s globally recognised Forces of Fashion summit make its Australian debut at the Sydney Opera House, marking a pivotal moment not just culturally, but commercially. For Editorial Director Edwina McCann, the choice of venue was non-negotiable.
“I felt very passionately that it needed to be hosted somewhere iconic and preferably the Opera House so that it was launched with the gravitas that it deserves,” she told Mediaweek.
“Because obviously, Anna Wintour is very much on our wish list, and you can see the lineup of talent we’ve got.”
“You just don’t, that’s deserving of the Opera House.”
Vogue’s next act: journalism, but live and on camera
At its core, Forces of Fashion is more than an event. It is Vogue translating its editorial authority into a format built for a video-first era, where audiences consume stories across platforms and advertisers demand deeper integration.
McCann describes the summit as an extension of Vogue’s journalism, rather than a departure from it.
“Being on stage will allow us to tell the story that we’re also telling in print,” she said, highlighting the magazine’s cover story featuring Margot Robbie and Jacob Elordi, who are on the promotional tour for their new film Wuthering Heights.
“This is Vogue journalism coming to life. And that’s exciting.”
This shift reflects broader structural changes inside the Vogue business model. While the brand remains synonymous with image-making, dialogue and narrative have become equally valuable currency, particularly in video formats.
“I think marketers are much smarter now in the way they want to integrate their brand narratives and their storytelling,” McCann said. “And so this is another level for us to be able to do that.”
From glossy pages to integrated brand ecosystems
The commercial implications are significant.
Forces of Fashion is a ticketed consumer event supported by luxury partners including Paspaley, Mastercard, Dyson, and Belvedere, while global maisons such as Louis Vuitton and Hermès have purchased tables for the accompanying Summer Ball.
The structure mirrors the Met Gala model, blending cultural prestige with brand access and content generation.
“This was managed more like, frankly, like the Met Gala is,” McCann said. “Those brands are at the table, and they can host friends, VIPs or friends of their brands, and we bring them into Vogue.”
“It’s the experience of bringing VIPs, but it’s also the content that we’re going to create because we’re going to dress these guests in their various brands.”
For advertisers, the opportunity extends well beyond physical attendance. The event creates a pipeline of premium video, social and editorial content that Vogue can distribute across its owned platforms and partner ecosystems.
“Most people who are not there will engage with this content, you know, on our platform and off our platform, but in video format,” McCann said.
Her biggest focus for the next two years? “Video, video, video, video.”
Building cultural gravity, one stage at a time
The summit’s speaker lineup reflects Vogue’s strategy of combining global influence with local creative authority, featuring Robbie, Elordi, Hailey Bieber, Catherine Martin, Taika Waititi and Rita Ora alongside leading Australian talent.
For McCann, assembling that roster required nearly a year of editorial planning, aligning cover shoots, schedules and creative narratives into a single moment.
“It still starts with the ideal hit list. Like, what are the stories we want to tell and who are the people who we think will best resonate with our audiences?” she said.
“But also, it was really important for us to have key Australian talent there.”
The event also signals Vogue’s continued expansion beyond print, into experiences, video and integrated storytelling ecosystems. Rather than retreat from technological disruption, McCann sees evolution as inevitable.
“I really just see the next iteration, which is AI. It will disrupt the way we work again,” she said.
“But I think there’s no point trying to resist the change that comes. It’s more about embracing it and working out how to make it work for you.”
The business of turning influence into infrastructure
Underneath the glamour, Forces of Fashion represents something structurally important: the conversion of editorial influence into scalable media infrastructure.
For decades, Vogue created aspiration through images. Now, it creates it through experiences, conversations and video formats that extend beyond the printed page and into persistent, monetisable ecosystems.
The Opera House is symbolic and strategic.
“I think if you’re going to do something like this annually and you need it to be on the cultural calendar, then it needs a home,” McCann said.
For Vogue Australia, Forces of Fashion is not just an event. It is a statement of intent. The magazine that once shaped vision boards is now building stages, and inviting the industry to watch, participate and, crucially, partner.
Main image: Vogue Editorial Director Edwina McCann
Photographer files restraining order against Aussie singer
A US-Based photographer has filed a petition for a civil harassment restraining order against Amyl and the Sniffers frontwoman, Amy Taylor, escalating an ongoing legal dispute over copyright, image rights, and the commercial use of photographs.
As first reported by Blunt and Rolling Stone AU/NZ, photographer Jamie Nelson filed the petition in December in Los Angeles Superior Court. A temporary restraining order was not granted at the time, with a hearing scheduled for 13 February 2026.
The case centres on a photographic series of Taylor titled Champagne Problems, which Nelson shot and later published in Vogue Portugal in July 2025.
The dispute has since expanded into parallel legal proceedings concerning copyright ownership, licensing, and the commercial sale of fine art prints.
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Copyright dispute expands into dual legal proceedings
Nelson described herself as the creator and sole copyright owner of the photographic series and stated that the dispute escalated after a third party affiliated with Taylor publicly shared one of the images without her permission.
“On December 4th, 2025, after a third party related to Amy Taylor publicly posted one of my copyrighted images without my permission, I issued cease-and-desist notices to the third party, Amy Taylor, and Amyl and the Sniffers,” she said in a statement provided to Rolling Stone AU/NZ.
She added that she sought court protection days later.
“On December 9th, 2025, I sought court protection by filing a Civil Harassment Restraining Order in Los Angeles Superior Court against Amy Taylor. That matter remains pending, with a hearing scheduled for February 13th, 2026. Given the active proceedings, I am limiting public comment to factual context.”
Separately, Nelson confirmed Taylor had filed a civil action against her relating to the sale of prints from the same photographic series.
“On December 22th, 2025, a civil action was filed against me. The matter concerns my rights as the copyright holder with respect to the sale of fine-art prints of my own work. I contest the allegations and will address them through the appropriate legal process. As of today, I have not been served, and no hearings have been scheduled in that matter,” Nelson continued.
Disagreement traces back to album shoot discussions
According to court filings, the dispute stems from an initial approach in July 2024, when Amyl and the Sniffers’ manager Simone Ubaldi contacted Nelson to photograph the band for their album Cartoon Darkness. That shoot was ultimately cancelled after the band objected to the proposed commercial use of their likeness.
“As explained to Ms Nelson, the band was zealously protective of their image and did not want these used for non-band-sanctioned, private commercial purposes, such as Ms Nelson had proposed. As a result, the photo shoot was never conducted,” the complaint read.
Nelson later approached Taylor directly to photograph her, and documents indicate that the images were intended exclusively for publication in Vogue Portugal. Taylor agreed to the shoot, but filings allege she did not authorise any broader commercial licensing beyond the magazine feature.
Court documents state Nelson subsequently sought permission to license and sell the images, including as fine art prints, but Taylor declined those requests. Despite this, filings allege that Nelson continued to sell prints through her website and to use the images in connection with her commercial work.
Image rights and copyright control at the centre of the conflict
The case highlights the increasingly complex intersection between copyright ownership and performer image rights, particularly when editorial shoots transition into commercial licensing opportunities. While photographers typically retain copyright in the images they create, subjects may retain significant control over how their likeness is commercially exploited, depending on contractual agreements.
As of publication, neither the restraining order petition nor the civil lawsuit has been resolved in court. The hearing regarding Nelson’s restraining order petition remains scheduled for 13 February 2026.
Main image: Amy Taylor. Source: Chris Neave
Fear and uncertainty': News producer quits in scorching note
A CBS News producer has resigned in a blaze of glory, taking aim at the direction of editor-in-chief Bari Weiss.
Alicia Hastey‘s now-viral farewell note to colleagues, which was posted to X by New York Times reporter Ben Mullin, starts:
“It is with sadness that I write to tell you that…today was my last day in the Broadcast Centre. I joined the network four years ago with gratitude and optimism, and I want to leave you with these thoughts only as a reminder of things I know you already know.”
The news producer, who had been at CBS since 2021, said she is proud of the work before blaming Weiss for a new editorial direction.
“[T]here has been a sweeping new vision prioritising a break from traditional broadcast norms to embrace what has been described as ‘heterodox’ journalism.
“The truth is that commitment to those people and the stories they have to sell is increasingly becoming impossible. Stories may instead be evaluated not just on their journalistic merit but on whether they conform to a shifting set of ideological expectations – a dynamic that pressures producers and reporters to self-censor or avoid challenging narratives that might trigger backlash or unfavourable headlines.”
Hastey said that none of her comments detracts from the “talent of all the journalists who remain at CBS News,” but added, “that is precisely what makes this moment so heartbreaking.”
“The very excellence we seek to sustain is hindered by fear and uncertainty.”
NEW: “CBS Evening News” producer Alicia Hastey sends a bombshell farewell note:
Stories are “evaluated not just on their journalistic merit but on whether they conform to a shifting set of ideological expectations.” pic.twitter.com/4orZmbkqRI
— Ben Mullin (@BenMullin) February 12, 2026
Who is Bari Weiss?
Weiss was appointed editor-in-chief of CBS News in October 2025, after her outlet, The Free Press, was acquired by Paramount.
Fox News reports that the move drew both internal and external criticism, with some citing her background in opinion journalism and lack of television experience.
Weiss recently told staff they are “not producing a product that enough people want” and detailed her “21st century” vision for the network.
It’s not her first controversial move. Weiss annoyed 60 Minutes staffers by delaying a report on an El Salvador prison, and has been accused by liberals of supporting President Donald Trump‘s administration.
Netflix slashes product team roles amid leadership reshuffle
Netflix has reportedly laid off several dozen staff in its product division as part of an internal reorganisation, according to Deadline.
Sources cited by the outlet said the cuts were concentrated in middle management and administrative roles, and amounted to less than 1 per cent of the division’s roughly 6,000 employees.
Elizabeth Stone, Netflix’s chief technology officer, was promoted to chief product and technology officer on 2 February. Stone’s remit now spans the company’s product, engineering and data teams.
No senior product executives were reportedly impacted by the layoffs.
What has changed in Netflix’s product leadership
Netflix’s previous chief product officer, Eunice Kim, left the company in September after four years in the role.
The outlet reported Kim’s tenure included the first major update to Netflix’s user interface in more than a decade, which management had linked to subscriber growth.
Subscriber update and broader context
While Netflix no longer reports quarterly subscriber numbers, it said in its fourth-quarter earnings update last month that it ended 2025 with more than 325 million subscribers.
The outlet also noted workforce reductions have become common across the tech sector, with companies citing restructuring and the impact of AI on certain roles.
Mediaweek has reached out to Netflix Australia for comment.
Ideally appoints Kirsty Harding as research strategy director
SaaS market research platform Ideally has appointed Kirsty Harding as its first research strategy director.
Her role will focus on ensuring research scales on the Ideally platform in a way that expands creative potential, strengthens decision-making and delivers better commercial outcomes.
She will work closely with enterprise customers to modernise research programs, embed best practice and shift internal behaviours toward always-on learning.
Harding brings more than two decades of experience across consumer insights, marketing, innovation and ventures, with a deep background in FMCG and alcohol.
Most recently, she led innovation and ventures at Lion.
“Ideally is reinventing how research shows up in innovation and creativity,” said Harding.
“I’m excited to join a product-led business that uses technology to put consumer insight at the start of idea development, so teams can test, iterate and build confidence early, rather than relying on research too late in the process.”
Ideally CEO and co-founder James Donald said the appointment reflects Ideally’s ambition to modernise research and make insight more accessible across organisations.
“Too often, research has been treated as a gate at the end of the process,” said Donald.
“Kirsty’s role is about helping our customers move beyond that. As adoption of Ideally grows, we need research to scale in a way that unlocks creative ambition, not constrains it. She understands how to drive that change inside complex organisations.”
500 jobs in limbo as Barbeques Galore enters administration
About 500 jobs are in limbo after Barbeques Galore entered voluntary administration and receivership, following what the retailer described as ongoing cash flow pressure.
Grant Thornton’s Philip Campbell-Wilson, Lisa Gibb and Matthew Byrnes were appointed voluntary administrators on Thursday to review options for the barbeque and outdoor furniture chain.
The business operates 68 company-owned stores and 27 franchise locations nationwide, totalling nearly 100 outlets and roughly 500 staff.
Gift card redemption now comes with conditions
Customers can still use gift cards, but only if they spend twice the card’s value. That means shoppers must spend an extra $2 for every $1 on their voucher.
For example, a customer would need to make a $150 purchase to redeem a $50 gift card, paying the remaining $100 themselves.
Orders paid in full or in part are expected to be fulfilled unless stock is unavailable.
Receivers appointed as business continues trading
A secured creditor has also appointed Ankura’s Quentin Olde, Luke Pittorino and Liam Healey as receivers.
The company will continue trading while the receivers assess options, including a potential restructure or sale.
Chief executive David White said management had been working to turn the business around and had made “considerable” progress, but liquidity constraints forced the restructure. The comments were reported by the Sydney Morning Herald.
Olde described Barbeques Galore as an “iconic” retailer and said he expected interest from retail operators and financial investors. Those remarks were also reported by the Sydney Morning Herald.
Private equity ownership history
Barbeques Galore has been owned by several private equity firms over the past two decades. It was listed on the US NASDAQ exchange from 1997 to 2005 before being acquired by Ironbridge Capital.
Quadrant later took a controlling stake in 2012 and bought the remainder in 2016. More recently, the Australian Financial Review reported in late 2025 that international retail investment firm Gordon Brothers bought the chain for a “nominal amount”.
Media
Guardian Australia editor exit raises timing questions
As The Sydney Morning Herald’s Calum Jaspan recounts, the announcement came late Tuesday afternoon, and by the next day, she was gone, with staff learning the news via email rather than in person.
It was so sudden, in fact, that Guardian global editor in chief Katharine Viner accelerated travel plans from London to attend the farewell in Sydney, arriving earlier than originally scheduled.
AI
Tech industry warns Australia unprepared for AI
The Australian Financial Review’s Paul Smith reports that Tech Council policy director Lucinda Longcroft said clearer alignment would help unlock local investment.
Just 7% of tech leaders believe Australia is ready for future AI demands, with the industry calling for simpler regulation and fewer barriers, particularly around data centre infrastructure.
Entertainment
Sandra Bernhard joins cast of The White Lotus
According to Deadline’s Denise Petski, her character remains tightly held, continuing the show’s tradition of secrecy ahead of production.