Just weeks after announcing she would step away from Married at First Sight, relationship expert Mel Schilling has shared a devastating update about her health, revealing her cancer is now terminal.

The 54-year-old posted an emotional message to Instagram confirming that after nearly two years of treatment, doctors have told her there are no further options available.

Schilling first revealed in December 2023 that she had been diagnosed with colon cancer after a tumour was discovered during a scan.

In a lengthy message to followers, she reflected on the moment the disease was first found.

“In December 2023, I was diagnosed with colon cancer after a tumour the size of a lemon was discovered during a scan. ‘Terry,’ as I called him, was successfully removed, and I was initially given the all clear –  that many of you already know.”

However, a routine scan just months later revealed the cancer had already spread.

“Unfortunately, in late February 2024, during a routine scan, small nodules were discovered in my lungs. The cancer had metastasised, and my world changed again in an instant.”

Continuing to work through treatment

Despite the diagnosis, Schilling continued working on the hit Nine reality series, undergoing extensive treatment while filming.

“Over the past two years, while filming MAFS, I underwent 16 rounds of chemotherapy and was later told I was eligible for a groundbreaking clinical trial specific to my gene type, due to start in March 2026. Once again, my optimism soared that I might beat this thing.”

But over Christmas, new symptoms signalled another devastating development.

“Over Christmas, however, I began experiencing blinding headaches and numbness down my right side. After many tests, I was told the cancer had spread to the left side of my brain and, despite subsequent radiotherapy sessions, my oncology team have now told me there is nothing further they can do.”

“Hearing those words changes everything.”

Schilling said the disease has progressed rapidly and that everyday life has become increasingly difficult.

“So that’s where I am now. My light is starting to fade – and quickly. But I am still here, still fighting, and surrounded by the most incredible love. Simple tasks have become incredibly difficult, and I am relying on my beautiful family to look after me.”

“I honestly don’t know how long I have left, but I do know I will fight to my last breath and will be surrounded by the love and support of my people.”

Message to fans

Schilling also thanked fans who have supported her since she first shared her diagnosis.

“At the outset of this journey, so many of you sent the most wonderful messages of support. They have meant more than I can ever properly express and have helped shape the mindset I’ve needed to keep fighting. Thank you all from the bottom of my heart.”

She also urged followers to take their health seriously.

“If I could leave you with one thing, it would simply be this: if something doesn’t feel right, please get it checked out. It might just save your life.”

Nine responds

In a statement, Nine Entertainment said the network was devastated by the news.

“The entire Nine family is deeply saddened by the news regarding Mel Schilling’s health. She is a woman of extraordinary depth, kindness, and an unshakeable spirit.”

“Mel’s honesty and her ability to face life’s hardest moments with such strength and openness is something we admire.”

“She isn’t just a colleague; she is family. Our thoughts, love, and strength are with Mel, her husband Gareth, and her daughter Maddie during this incredibly difficult time. Mel, we are all behind you.”

Keep on top of the most important media, marketing, and agency news each day with the Mediaweek Morning Report – delivered for free every morning to your inbox.

Prince Harry and Meghan Markle’s planned return to Australia is already attracting scrutiny, with a royal insider claiming the visit is less about charity or public service and more about testing a new commercial frontier.

Speaking on The Nerve podcast, commentator Rob Shuter suggested the Duke and Duchess of Sussex may be using the trip to gauge whether Australia could become a viable market for their post-royal brand.

“They think that this is their opportunity to turn up and really exploit what’s going on with the family and Andrew. They can separate themselves. It’s not a royal tour. They’re there as private citizens,” Shuter said.

Host Maureen Callahan pushed back on the framing.

“Oh, come on, though. They’re pretending it’s a royal tour.”

Shuter doubled down, arguing the visit is designed as a kind of global trial run.

“They will try to be met by dignitaries, heads of state. Everyone I’ve spoken to said that the itinerary, which has been put together, is really a show-and-tell. They’re going to test the waters. They’re going to see if this could be a market for them. And if it works, we’ll see them try this out in different markets now around the world.”

He added that Australia remains one of the few places where the pair still enjoy a degree of goodwill.

“There is some support for them in Australia. The last time they were there, in 2018, was a sensation. This was when they were at the peak of their powers. It was before it got all so ugly. So they have figured out, it took them a minute, that America hasn’t worked for them. So they’re going to try another country.”

A return built around events

The renewed attention comes as both Prince Harry and Markle have separately confirmed appearances in Australia tied to commercial and leadership events.

Markle will travel to Sydney later this year as the headline guest at a luxury wellness retreat hosted by Gemma O’Neill, best friend of Australian radio star Jackie ‘O’ Henderson.

The event forms part of O’Neill’s ‘Her Best Life’ retreat at the InterContinental Sydney Coogee Beach, where Markle will take part in a live conversation during a gala dinner.

Organisers describe the weekend as “an intimate luxury weekend by the ocean designed to bring women together for powerful conversations, relaxation, laughter and unforgettable experiences.”

According to promotional material, the highlight will be an in-person conversation and gala dinner with Markle, framed as an “intimate gala like no other.”

Harry’s Melbourne appearance

Meanwhile, Prince Harry is set to appear in Melbourne, where he will headline the inaugural InterEdge Psychosocial Safety Summit.

The two-day event, running from 15 to 16 April, is positioned as a national discussion around workplace mental health, leadership and psychosocial safety, supporting Lifeline Narrm.

Organisers say the summit will bring together policymakers, business leaders and workplace experts to explore strategies for tackling burnout, psychological injury and employee wellbeing.

Memories of the 2018 tour

The couple’s last visit to Australia in 2018, during their first year of marriage, drew huge crowds and wall-to-wall media coverage.

But the visit has also become the subject of lingering rumours and criticism – something Callahan referenced during the podcast discussion.

“Weren’t there reports that, on the initial Australia trip, Meghan said to a courtier, I can’t believe I’m not getting paid for this?” she asked.

“And then aren’t there reports also, never substantiated, but allegedly, reportedly very stubborn reports that in a most displeased moment, Meghan threw a cup of hot tea on an underling because it was not to her liking?”

Shuter replied with his own account.

“I heard she hissed at an underling, too. She turned up, and she bought into her own celebrity. A billion people had just watched her wedding. I’m not defending her. But she turned up there like she was Princess Diana. She’s not.”

Unlike their 2018 appearance, the upcoming trip carries none of the formal trappings of a royal tour.

Whether Australia becomes the next testing ground for that strategy remains to be seen.

Main image: Meghan Markle and Prince Harry.

Keep on top of the most important media, marketing, and agency news each day with the Mediaweek Morning Report – delivered for free every morning to your inbox.

The out of home sector is not just surviving current media fragmentation. It seems to be actively thriving in it. That was the clear message at this week’s  oOh!media upfront style gathering, where the company pitched its vision for 2026 to a room full of agency executives and brand partners.

The event marked the final stop of a five-city national roadshow that engaged more than 700 agency and brand partners across the country. It also served as the first major client-facing appearance for recently appointed chief executive officer James Taylor.

Taylor took the stage first to highlight the momentum of the sector. Barely 11 weeks into the job, he pointed to hard financial realities.

“In 2025, out of home revenue grew by 11.4% to $1.4 billion, and it holds a 16.5% market share,” Taylor noted. “It is increasingly moving to the centre of media spend. Both sizable and strategic.”

Expanding the digital footprint

Backing up that momentum is a significant rollout of new digital assets. Across Sydney, Taylor pointed to new groundwork in the Metro, Woollahra, and Waverley, alongside 24 new digital panels in the Northern Beaches.

The expansion extends to major transit corridors, with 15 new digital billboards planned along the M1, M4, and Hume highways for late this year and early 2027.

Regionally, the network is upgrading Newcastle Airport and launching a new billboard site in Wollongong.

Beyond revenue and infrastructure, Taylor acknowledged the need for internal evolution. He noted that agencies demand faster response times and deeper data insights.

“As an example of progress we are integrating AI agents into our sales workflows to make this happen,” Taylor said.

The return of the prodigal daughter

While Taylor provided the corporate bedrock, the evening’s masterclass in salesmanship came from Mel Duffy, head of product and POLY strategy. Introduced by Mark Fairhurst, chief revenue officer, as ‘the prodigal daughter’ returning to the business, Duffy took the stage and immediately won the room over with her self-deprecating humour.

“I don’t know if anyone saw me walk up on stage, but I have to say, it’s the first time I’ve worn heels in ages,” she joked. “I’m an elder millennial, and let me tell you, that step up was quite risky.”

Combating the attention crisis

Humour aside, Duffy quickly cut to the core anxieties keeping chief marketing officers awake at night. Marketers battle a severe attention crisis.

“The average person sees over 10,000 pieces of advertising and content every single day,” Duffy explained. “So how do you come through all of that to effectively win the hearts, minds, and perhaps the wallets of individuals?”

Out of home, she argued, remains the only truly unskippable channel. To solve the attention deficit, Duffy unveiled the ‘Unmissable Menu.’ The framework helps brands stand out through three core pillars: creativity, audience targeting, and sheer physical impact.

Retail domination and MOVE metrics

The conversation then shifted to the retail environment. The latest MOVE methodology fundamentally transforms this area.

“Under MOVE 1.5, only nine retail centres were surveyed, with no consideration given to centre size, total footfall or the specific location of panels within the environment,” Duffy explained.

“The new MOVE represents a step-change in rigour. Over 1,200 retail locations are now analysed with audience measurement incorporating centre size, footfall and precise panel positioning. In this new measurement economy, it is clear scale and quality of environment matter more than ever.”

This expanded data proves that medium and large retail centres are exceptional reach workhorses. Brands can now execute complete retail dominations, taking over multiple screens in a single environment to capture consumers right at the point of purchase.

Sparkly skirts and bold creativity

Duffy stressed that buying efficient media is only half the battle. What goes on the screen matters immensely.

“Creativity drives 41% of effectiveness of out of home,” she reminded the room.

In another humourous throwaway, Duffy subtly referenced her own sequined outfit. She noted that great advertising does not always need to be complicated.

“Creativity doesn’t have to mean all the fandangled things, all the sparkly skirts, all the rest of it,” she said. “Sometimes, it is simply about the consistent utilisation of out of home to drive that great memorability.”

Duffy championed the skills of oOh!media’s dedicated creative hub, POLY, and the team members who work to maximise this metric.

The final pitch from oOh!media is clear. To cut through the digital noise of 2026, brands must step away from opaque algorithms and invest in bold, unmissable physical canvases.

Feature image: James Taylor, chief executive officer oOh!media

Keep on top of the most important media, marketing, and agency news each day with the Mediaweek Morning Report – delivered for free every morning to your inbox.

Elizabeth McIntyre, CEO, Outdoor Media Association & MOVE

March 2026 marks a historic turning point for Out of Home (OOH) advertising in Australia. With the official launch of MOVE, (Measurement of Outdoor Visibility and Exposure), the industry now operates with a new, single and unified audience currency.

This evolution doesn’t just modernise how campaigns are measured. It transforms transparency, planning accuracy, and confidence at every level of the media supply chain. Put simply, MOVE validates what we already knew – that OOH works.

A world-leading system built for Australia

Developed with unanimous support from across the media ecosystem including the Media Federation of Australia (MFA) and endorsed by Independent Media Agencies Australia (IMAA), MOVE is a world-leading system built in Australia, for Australia’s diverse and fast-moving OOH market.

What makes MOVE different and exciting? First, its scale and granularity. MOVE is powered by a synthetic population of 2 million people, modelling over 20 million Australians aged 14+, and capturing behavioural patterns across more than 180 demographic segments.

Data is collected and updated hourly, 365 days a year, across every sign and campaign nationwide, including five metro centres and 21 regional areas, from roadside billboards and digital screens to place-based and transport environments.

Unlocking regional power and new possibilities

This richness matters. MOVE creates a whole new world of possibilities for media owners, advertisers and agencies. Everyone can measure from the same playing field, giving agencies a greater understanding of what they are buying and giving clients even more confidence into investing more into outdoor media.

Regional Australia is a big winner when it comes to audience data, as it now has a tool to demonstrate real reach and impact covering 21 different regions.

As Brad Bishopp, CEO and Managing Director of Bishopp Outdoor Advertising said, “We can show to agencies and clients that measuring in regional amplifies the power of the regional market”.

MOVE also opens the door to all formats 24/7, including now, place based ones with standardised measurement and opens up all new possibilities when comparing channels and other formats.

A watershed moment in accountability

For advertisers, agencies and media owners alike, this is a watershed moment in next-level accountability and clarity. As Charles Parry-Okeden, MOVE’s Independent Chair, puts it: “It will provide a whole new level of transparency and accountability for advertisers”.

Simply put: MOVE validates what the industry has always known. OOH is the strongest and fastest reaching medium, delivering frequency, scale, and real-world impact. And now, it comes with robust, real-time data to prove it.

If there’s one message for Australia’s OOH industry, it’s this: Now is the time to MOVE. Together.

Feature image- Elizabeth McIntyre, CEO, Outdoor Media Association & MOVE: supplied.

Keep on top of the most important media, marketing, and agency news each day with the Mediaweek Morning Report – delivered for free every morning to your inbox.

If an idea does not keep you awake at night worrying it is too weird or too big, it probably doesn’t belong on Netflix. That’s the creative mandate driving Tony Broderick, director of marketing for Netflix ANZ, as he fights for subscriber attention in a fiercely competitive streaming market.

Broderick recently shared his time with Mediaweek for our CMO Spotlight to discuss taking ‘uncomfortably exciting’ creative swings, how artificial intelligence speeds up the creative process, and why the brand’s personalised billboard is its most powerful asset.

Creating cultural moments at scale

Mediaweek: What piece of work from the past 12 months best captures how your brand wants to show up?

Tony Broderick: Wednesday Island. We took over Cockatoo Island, once a prison and reformatory for young female convicts, and transformed it into an outcast fan festival. It had everything: a star-studded red carpet, Gaga-esque performances, and immersive Nevermore activations that felt like a fever dream.

What I love most isn’t just the scale; it’s that our local and regional teams in Events, Publicity, Marketing, and Social moved as one single organism to pull it off. Seeing thousands of Aussie Wednesday fans celebrate their outcast energy together was also pure joy. Plus, it happened on the only day it didn’t rain last August. I spent two weeks obsessively checking the BOM app, so that blue sky felt like a personal win.

Balancing brand and performance

MW: Where is your marketing budget working hardest today?

TB: Every single dollar is running a marathon right now. The category is competitive, media channels are fragmenting, and production costs are going up. We try to approach every constraint as a creative opportunity. Every win our team pulls off helps raise the bar for the next one.

MW: What’s changed most in how you balance brand and performance?

TB: We are a title-led business, so our strategic bet is that if we curate the right variety of stories to showcase our service and ignite fans to drive a massive, outsized conversation around them, the broader business metrics will follow.

We complement this with brand campaigns such as our recent Next on Netflix campaign. This effort culminated in our first-ever local showcase, where we previewed Australian titles like the new adaptation of My Brilliant Career and the final, generation-defining season of Heartbreak High.

Finally, we support the above with a right-sized effort of always-on, consideration, and acquisition campaigns to demonstrate that Australia is watching and talking about a new Netflix release every week of the year.

MW: Which channel or platform currently over-delivers?

TB: Netflix itself. Most Australians open our app every single night, making it the most personalised, high-engagement billboard in the world. Because the product does such a heavy lift in content discovery, it frees up my team to focus on the big ideas: taking that living room conversation and amplifying it into a cultural moment in the real world.

The other is our amazing network of organic social channels. Every Aussie entertainment fan can follow Netflix ANZ on TikTok, Instagram, or Facebook to discover and talk about their next favourite title in a way that feels hyper-local and distinctly Australian.

The role of AI and agency partners

MW: What role does creativity play in your commercial strategy right now?

TB: It is the engine room for growth. Our culture memo uses the phrase “uncomfortably exciting,” and I encourage our team to live by that. I often say if an idea doesn’t keep you awake the night before because you worry it is too weird or too big, it is probably not a Netflix idea.

Whether it is tearing a portal to the Upside Down over Sydney Harbour or turning an Aussie pub into a Netflix Sports Club to get WWE, F1, and NFL fans hooked, we always try to take big swings. At the same time, everyone must use judgment, experience, and insight to inform their bet. We then need the candour to ruthlessly debate whether it worked afterwards.

MW: How are you using data, tech, or AI in a way that genuinely improves the work?

TB: Productivity is the biggest win. We never have enough time, so I use GenAI constantly to refine, simplify, and research. My team uses image tools to mock up ideas to inform and shape feedback for our partners. We are a creator-led company, so humans always drive the final output, but AI lets us iterate on and debate early ideas 10 times faster.

MW: What does a good agency partner look like for you in 2026?

TB: Selflessness and agility. We work with an incredible core group, including Amplify, Organic, Initiative, Two Palms, GoodStuph, and Bursty, and the common thread is a genuine, borderline-obsessive love for entertainment. They live the stories we tell, and they work together to do what’s best for Netflix.

Looking ahead to the next big bet

MW: What’s the toughest call you’ve had to make as a CMO?

TB: Anything involving people. Ending a long-term partnership with a valued agency or making structural changes to a team is never easy. You have to make the call that serves the future of the business, but we always try to balance that with kindness and gratitude. Everyone who touches our brand pours their heart into it.

MW: What’s one misconception about your brand or category that your team is actively trying to unpick through marketing?

TB: The idea that we’re just a tech company led purely by data. We are an entertainment company. While data informs us, it doesn’t lead us. If we only looked at historical data, we’d only ever make what already exists. To lead the trend line, you need human intuition, creative “gut,” and the courage to take a swing at something that hasn’t been done before.

MW: Looking ahead, where will your next big marketing bet come from?

TB: Some of our most exciting work now comes from the brands we partner with. Since launching Netflix Ads, we’ve opened up our ‘personalised billboard’ to other marketers, giving them engaged attention that’s hard to find elsewhere. It’s also allowed our team to partner with other cultural brands to create new moments of joy for fans, whether that’s Squid Game x Macca’s or our recent Bridgerton x Tinder partnership. I’m excited about what more brands in Australia can create together next.

Feature image- director of marketing, Netflix ANZ, Tony Broderick

Keep on top of the most important media, marketing, and agency news each day with the Mediaweek Morning Report – delivered for free every morning to your inbox.

Grace Tame has revealed that her speaking appointments have almost vanished in the wake of her shouting “globalise the intifada” at a pro-Palestine rally last month.

Tame admitted during a speech this week at the No to Violence conference in Hobart that she had no more speaking engagements for the rest of the year.

“This is my last presentation of the year and it’s only March,” the former Australian of the Year said.

Tame attributes an “ongoing media smear campaign” to the cancellation of three of her engagements last week.

In a post on Instagram last week, Ms Tame said she had “lost three speaking engagements on the theme of child safety due to an ongoing media smear campaign”.

Grace Tame speaks at a rally protesting the visit of Isaac Herzog in February. Image: Instagram
Tame has drawn condemnation from the Jewish community since her appearance at a rally during Israel President Isaac Herzog’s visit to Australia in February.

Demonstrators had gathered at the Sydney Town Hall to protest President Herzog’s visit – made in the wake of the Bondi terrorist attack on a Hannukah celebration by the beach.

Weeks after the attack – the worst terrorist incident in Australian history – Tame led chants to ‘Globalise the Intifada’.

‘Intifadas’ refer to two violent uprisings in the Middle East that have involved the deliberate targeting of innocent civilians – although Tame has always indicated she only supports peaceful action.

Tame faced calls to be stripped of her 2021 Australian of the Year honour in the wake of her speech at the demonstration in February. More than 25,000 Australians signed a petition demanding action.

The petition called for authorities to charge Tame with ‘[alleged] criminal incitement to violence under existing Australian law’.

‘We do not need new “hate speech” laws, if the threshold for incitement has been crossed, current laws are sufficient,’ the petition stated.

‘In 2021, Grace Tame was named Australian of the Year, an honour reserved for individuals who reflect the values, unity and integrity of our nation.

‘That title carries moral weight. It is not just recognition for past advocacy, it represents an ongoing association with Australian ideals.’

Her appearance at an International Women’s Day event in Bendigo, Victoria, came under fire from the Australian Jewish Association.

The group had lobbied for organisers to drop her appearance, however organisers Be.Bendigo refused to cave in to pressure.

 

View this post on Instagram

 

A post shared by Grace Tame (@tamepunk)

In 2025, sports brand Nike officially cut ties with Tame over pro-Palestinian posts on social media, where she shared several posts in solidarity with Palestinians during the conflict with Israel.

“Grace and Nike have mutually agreed to part ways,” a Nike spokesman said. “We wish Grace the best as she continues her running journey.”

Top image: Grace Tame. Image: Instagram

Keep on top of the most important media, marketing, and agency news each day with the Mediaweek Morning Report – delivered for free every morning to your inbox.

After more than two decades helping shape the evolution of Australia’s broadcast and digital news landscape, senior media executive Alexander Needs has announced he will depart Nine Entertainment after 24 years.

Needs confirmed the news in a LinkedIn post, revealing next Friday will mark his final day at the network following a career that has spanned magazine publishing, live television and the transformation of Nine’s digital video and social operations.

“After 24 years at Nine, next Friday will be my last,” he wrote.

“It’s been an incredible journey – one that spans the halcyon magazine days at ACP, through to the live broadcast environments of A Current Affair and Today, and most recently, leading our digital video and social transformation.”

From ACP magazines to digital transformation

Needs’ career charts the shifting contours of Australia’s media industry itself.

He began during the era of powerhouse magazine publishing at ACP before moving into the fast-paced environment of live television, working across programs including A Current Affair and Today.

In recent years, his focus shifted to the digital frontier, overseeing efforts to modernise the way Nine’s news and content is delivered across video and social platforms.

“I’m immensely proud of what we’ve achieved in modernising our news and content delivery,” Needs said.

“My mission has always been to bridge the gap between traditional broadcast and our digital future – building content across news, sport, and entertainment that doesn’t just reach audiences but truly engages them.”

For many traditional broadcasters, the transition from linear television to a digital-first environment has been one of the defining challenges of the past decade.

Needs said the key was being prepared to challenge established thinking.

“Media is evolving faster than ever. I’ve always believed in staying nimble and unencumbered by the status quo.”

“To stay ahead of the curve, you have to be willing to take strategic risks and challenge the norms, and I’m grateful to have led a team that did exactly that.”

A pause before the next chapter

Needs also used the announcement to thank colleagues across Nine, including senior leadership and the teams he worked alongside.

“I want to thank Fiona Dear and my team for their incredible support. To my deputies Stefan Mitchell and Darius Winterfield – your leadership sets the standard. Thank you.”

He also acknowledged the broader teams across Nine’s news and sport operations.

“To the teams across 9News, Sport, Today, and NBN – keep pushing the boundaries. It’s been an absolute blast.”

For now, Needs said he plans to step away from the relentless pace of the news cycle.

“I’m going to take a bit of a breather over the next few months to recharge and enjoy some time away from the 24/7 cycle, with my husband and young daughter.”

But the longtime media executive suggested the break may be short-lived.

“I’m also looking forward to what my next adventure might be and exploring new opportunities (feel free to reach out if you want to have a coffee!).”

Speaking to Mediaweek, Needs said the decision to leave comes as he begins considering his next professional move.

“I’m ready to have a crack at something new. To be honest, I’m not entirely sure what that looks like yet – which is both exciting and a bit daunting – but now feels like the right time for a fresh challenge.”

“I’ve had an absolute blast.”

Keep on top of the most important media, marketing, and agency news each day with the Mediaweek Morning Report – delivered for free every morning to your inbox.

Marty O’Halloran has joined Thrive PR and Communications in its first executive advisory appointment across Australia and New Zealand.

The move places one of global advertising’s most senior former network leaders in an advisory role as Thrive expands its multi-market, multi-service ambitions.

O’Halloran’s almost four decades experiences

Over a career spanning almost four decades, O’Halloran rose from account manager in Melbourne to Global Chief Executive Officer and later Global Chairman of DDB Worldwide, part of Omnicom Group, overseeing 10,000 staff across more than 90 countries before retiring in 2024.

In his new role, he will advise Thrive’s leadership team on strategic growth, creative development, business expansion and talent mentoring.

CEO comments

Leilani Abels, Chief Executive Officer and Founder of Thrive PR and Communications, said O’Halloran’s experience would directly shape the agency’s next stage.

“Marty has led one of the most awarded creative networks in the world and there are few leaders globally who are held in such high esteem. He understands exactly how agencies grow and he’ll help Thrive to innovate, elevate creativity and continue to focus relentlessly on adding value to clients,” she said.

“Marty shares our belief that creativity and connections drive business growth, and that great agencies are built by creating environments where our people thrive.”

Thrive said the appointment reflects its continued evolution as an integrated communications business working with brands including The LEGO Group, Diageo, Cisco, Afterpay and Harley-Davidson.

O’Halloran comments

O’Halloran said the agency’s culture and positioning attracted him to the role.

“Thrive has built something special — a modern communications agency with strong values, ambitious leadership and a clear belief in the power of creativity and earned influence,” he said.

“I’ve always believed the best agencies combine strategic thinking, creative courage and a culture where talented people can do the best work of their careers. Thrive embodies that.”

The announcement comes as Thrive PR and Communications also opens recruitment for senior Sydney-based roles including Managing Director and Client Partner.

Abels said the agency sees the current period as a major growth point.

“This is possibly the most exciting time in Thrive’s history to be a part of our team.”

Top Image: Marty O’Halloran and Leilani Abels

Keep on top of the most important media, marketing, and agency news each day with the Mediaweek Morning Report – delivered for free every morning to your inbox.

Robert Irwin has shared emotional memories of his dad in an interview with Anderson Cooper.

During a March 10 appearance on Cooper’s All There Is podcast, the wildlife conservationist, 22, said he still talks to his iconic Australian late dad, Steve Irwin.

“He was so devoted as a father, you can’t not remember that,” Robert said, adding he’s so grateful that much of their time together has been recorded in photos and videos.

“I’ll be hit with this sense of – it’s warmth. It’s like something kind of wraps around me. And I will absolutely sit and just say, ‘How do I go forward?’ You know? How do you move forward?”

The man internationally known as the ‘Crocodile Hunter’ died at age 44 in September 2006, off the coast of Australia, after being stung by a stingray while filming a documentary.

Robert Irwin opens up to Anderson Cooper

“Sometimes, one of the nicest things is to kind of just let it all go,” Irwin shared at one point in the almost 50 minute conversation.

“I let it all sort of pour out, and it feels like I’m kind of letting him in. And sometimes I just sit and just go, ‘What’s next? How do I put one foot in front of the other?’ And there’s no answer, but it almost feels like there’s a resolution that comes out of that.”

Then Robert revealed there are moments when he feels like his late father is “trying to say something.”

He recalls that on one occasion, he was leading a team on a crocodile research expedition in Northern Australia for the first time ever – and ended up capturing the same reptile that Steve had captured and tagged 20 years prior.

“We do the capture and this bloke put me through it. He’s death rolling, head shaking, couple of really close calls on my behalf,” Robert shared.

“While I’m sitting there laying on this crocodile, there’s this very distinct marking in one of his scales, and I just had this little epiphany.

“It was a crocodile that my dad had caught 20 years ago and the craziest bit is, we managed to use satellite technology to figure it out, and we caught him in the exact same spot that he did,” he continued.

“It felt like that was Dad being like, ‘This is your first time leading the team. You’re on the right track. Here’s a little sign.’ It felt like that to me.”

Keep on top of the most important media, marketing, and agency news each day with the Mediaweek Morning Report – delivered for free every morning to your inbox.

Tinder has used its inaugural product keynote, Tinder Sparks 2026: Start Something New, to unveil a broad suite of updates across AI, safety, live events and profile design.

This marks what the company describes as its most significant product shift in years.

Presented in Los Angeles, the keynote introduced more than 10 new features aimed at helping users move from passive matching toward more intentional conversations and real-world connections.

AI becomes central to matching

At the centre of the update is Chemistry, Tinder’s AI-powered recommendation layer designed to reduce dating fatigue by serving curated daily recommendations based on personality signals, preferences and optional image analysis.

The company is also expanding Learning Mode, a recommendation system that adapts in real time based on user activity, and Camera Roll Scan, an opt-in tool that analyses photo patterns to surface personality cues and suggest profile improvements.

Spencer Rascoff, Chief Executive Officer of Match Group and Tinder, said the changes reflect how younger users want dating to feel.

“With more than half our users under 30, we’re building alongside a generation that wants dating to feel more authentic, lower-pressure, and worth their time,” he said.

“We’re using AI to surface more relevant connections, and continuing to raise the bar on safety so that people feel confident taking the next step.”

New ways to match

Tinder is expanding its Modes feature globally with two major additions.

Music Mode has been redesigned to prioritise shared listening taste, building on Tinder’s long-running integration with Spotify.

Astrology Mode introduces zodiac-based matching, allowing users to add their Sun, Moon, and Rising signs to their profiles and view compatibility insights.

The company said early testing showed women sent nearly 20% more likes to astrology-enabled profiles.

From swiping to showing up

Tinder is also expanding into live interaction with new event formats.

A beta Events feature is launching in Los Angeles, allowing users to browse local activities such as trivia nights and pottery classes and see which singles are attending.

Video speed dating will also begin testing later this year, offering three-minute live video chats for photo-verified users.

Trust and safety upgrades expand

Safety updates include continued global rollout of Face Check, a mandatory liveness verification system.

Two existing moderation tools are also being upgraded using large language models.

“Are You Sure?” will now better detect harmful tone before messages are sent, while “Does This Bother You?” adds contextual detection and automatic message blur for potentially disrespectful content.

Tinder said these systems now go beyond keyword detection to capture conversational nuance.

Profiles become more expressive

The app is also redesigning profile presentation, introducing fuller photo display, cleaner interface design and new integrations through Tinder Connect.

The first new partnerships include Duolingo and Beli, joining Spotify to help users signal interests more clearly.

Rascoff said the broader goal is to make first impressions feel more human.

“Real connection happens when people feel safe, understood, and confident enough to take the first step. Our job is to make that step easier, so more people can spark something new with someone new.”

Top Image: Tinder

Keep on top of the most important media, marketing, and agency news each day with the Mediaweek Morning Report – delivered for free every morning to your inbox.