The 2026 Federal budget has delivered new support for Australia’s public broadcasters and independent newswire, with funding increases for the ABC, SBS and Australian Associated Press.

The measures include $1.287 billion in federal funding for the ABC in 2026/27, $367.3 million for SBS, and a $15 million top-up for AAP. Commercial television and radio broadcasters will also benefit from a two-year suspension of the commercial broadcasting tax.

What is in the budget for the ABC?

The ABC will receive $1.287 billion in government revenue in 2026/27, up $58.5 million on the current financial year.

The increase includes renewed support for the Indo-Pacific Broadcasting Strategy, with an additional $14 million over two years to maintain the ABC’s expanded services across the region.

The broadcaster said the funding would support trusted content, regional media partnerships, and stronger connections with audiences throughout the Indo-Pacific.

Since 2022, the ABC has used Indo-Pacific Broadcasting Strategy funding to double ABC Radio Australia’s FM footprint in the Pacific, double the amount of Pacific-focused radio content, and establish the Pacific Local Journalism Network.

The funding has also supported two tailored ABC Australia television streams for Asia and the Pacific, expanded digital and social content, and more than 20 content-sharing agreements with national broadcasters across the region.

Hugh Marks, ABC Managing Director, said the renewed funding recognised the broadcaster’s role in Australia’s regional engagement.

“Since the launch of the government’s Pacific Engagement initiatives in 2022, the ABC has welcomed the opportunity to expand our reach, deepen audience engagement and support local media capacity across the Indo-Pacific,” Marks said.

“We look forward to continuing this important work in advancing the region’s access to reliable, trusted information, growth in media, skills and improvement in information distribution infrastructure, to benefit audiences in the region and deliver strong value for public investment.”

Claire Gorman, ABC Head International, said the funding would help sustain the ABC’s reach amid growing regional competition and misinformation.

“In an uncertain geopolitical environment, trusted media is critical,” Gorman said.

“This renewal allows the ABC to keep engaging audiences across the region, share the story of modern Australia and bring important stories back to Australian audiences from our neighbours.

“We look forward to growing the ABC’s soft power impact in this increasingly complex world.”

What is in the budget for SBS?

SBS will receive $367.3 million from the federal government in 2026/27, an increase of $7.3 million on the current financial year.

The multilingual broadcaster, which also draws revenue from advertising, is projected to receive $394 million in taxpayer support by the end of the decade.

SBS is also set to receive $3 million over three years to extend a podcast series, according to AAP.

Staffing at SBS is expected to shift only slightly, with average staffing levels forecast to fall from 1,369 to 1,363 next financial year.

What is in the budget for AAP?

Australian Associated Press will receive a $15 million top-up from the federal government to support its financial sustainability.

The additional money brings total federal funding for AAP in 2026/27 to $26 million.

Emma Cowdroy, AAP Chief Executive, said the funding would help secure the newswire’s future.

“At a time when the news media industry around the world is in a perilous position, AAP’s role in feeding high levels of factual, accurate, primary-source journalism into the information ecosystem is of critical importance,” Cowdroy said.

Commercial broadcasters get tax relief

The budget also includes a two-year suspension of the commercial broadcasting tax, giving financial relief to television and radio broadcasters.

The measure is expected to save the sector $111.3 million over five years.

The government has also renewed its commitment to progress the news media bargaining incentive, which is designed to encourage digital platforms to compensate publishers for news content.

Under proposed settings, platforms that strike deals with media companies would pay 1.5 per cent of revenue to the government, compared with 2.25 per cent if no deal is reached.

The measures land as Australian media companies continue to face advertising softness, rising operating costs, and pressure from global digital platforms.

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There are broadcast journalists, and then there are the reporters who seem to have had a front-row seat to history. Michael Usher is very much the latter.

Across more than three decades in television news, Usher has reported from war zones, royal weddings, election campaigns and some of the biggest global moments of the modern era – from the chaos of 9/11 in New York to the Iraq War, the London bombings and the death of Pope John Paul II.

Somewhere in between, there have also been Olympic Games, political showdowns, and the small matter of helping shape Australian current affairs television as viewers know it today.

But long before the international headlines and the polished studio lights, there was a teenager in Western Australia who already knew exactly where he was heading.

“I was one of those kids in school who had a focus on what I wanted to do from a young age,” Usher told Mediaweek’s Newsmakers.

“I knew that I wanted to be a journalist from about the age of 15, and I got focused on that.”

It’s a striking admission from someone whose career has often looked almost improbably wide-ranging – foreign correspondent, 60 Minutes reporter, breaking news anchor, documentary host and one of the defining faces of Seven’s news coverage.

But listening to Usher reflect on those early years, there’s a sense that the foundations were laid well before he ever stepped in front of a camera.

“The closest DNA I have to anyone in the family having an interest in journalism is that we have a lot of storytellers,” he said.

“There are a lot of teachers in my background. My parents, in particular, had a very wide view of the world and an enjoyment of history.”

That fascination with people and history would eventually take him from regional Western Australia to some of the biggest stories on earth. But first came Kalgoorlie.

His first job in journalism was in the mining town, more than 11 hours from home – a baptism by fire that, by his own account, taught him everything he needed to know about the business.

“It was the best thing I ever did, and I got a fast, hard course in journalism and getting going in this business,” he said.

Kalgoorlie, he explains, was relentless.

“Kalgoorlie was a rough town, a 24/7 mining town. So seven o’clock on a Monday morning in Kalgoorlie is as busy as a Friday night.”

And yes, there was even an unexpected run-in involving a local pubgoer and an on-camera appearance gone sideways.

“One day, this particular female took a dislike to me being on the camera,” he recalled.

“She came up to me and went, ‘Hey, you’re the bloke on the television’, and I said, ‘I am’, and then she punched me.”

Usher has now become known for his composure, particularly when covering traumatic events, including the Bondi terror attack.

“I’m really mindful of being in that role when those events happen,” he said.

“I guess I see my job as being in the eye of the storm, but I am the calm part.”

It’s a philosophy that says a lot about why audiences have trusted Usher for so long – and one that sits at the heart of this conversation.

Main image: Michael Usher

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Amazon Web Services (AWS) has appointed Chris Casey as Managing Director for Australia and New Zealand, with current MD and Vice President Rianne van Veldhuizen stepping down from the role.

van Veldhuizen confirmed the leadership change during her keynote address at AWS Summit Sydney, telling attendees it would be her final Sydney keynote in the position.

Casey has been with AWS since 2018 and most recently served as Director of AWS Partnerships for Asia Pacific and Japan.

Leadership transition at AWS ANZ

The appointment marks a leadership shift for the cloud computing giant’s Australia and New Zealand business at a time when enterprise demand for AI infrastructure, cloud migration and data services continues to accelerate across the region.

AWS is Amazon’s cloud computing subsidiary, providing on-demand cloud platforms and APIs to businesses, governments and organisations on a pay-as-you-go basis.

Casey steps into the role after six years with the company, during which he has held senior partnership- and channel-focused leadership positions across the Asia Pacific and Japan markets.

van Veldhuizen’s departure was announced publicly during the annual AWS Summit Sydney event, one of the company’s flagship customer and partner conferences in the local market.

Casey will now oversee the company’s ANZ operations during a period of heightened competition among major cloud providers, including Microsoft and Google Cloud.

Main image: Chris Casey

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The Eurovision Song Contest begins this week, with the world’s eyes set on Vienna.

But in a time of high global uncertainty, the iconic, joyful event is being marred by politics.

The ABC reports that national broadcasters in Spain, the Netherlands, Ireland, Slovenia and Iceland, who televise the contest, are boycotting the event.

They have claimed their actions in protest of Israel’s participation in the competition.

The Irish broadcaster RTÉ said taking part was “unconscionable given the appalling loss of lives in Gaza and the humanitarian crisis there”.

According to The Guardian, RTÉ will air a repeat of the sitcom Father Ted rather than carrying the finale in protest.

Dutch broadcaster AVROTROS accused Israel of using the contest  “as a political instrument”.

However, a spokesperson for Australia’s SBS told the ABC, “our position remains that, as a public broadcaster, making a decision to be involved based on the inclusion or exclusion of any country would undermine SBS’s editorial independence and impartiality”.

 

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Protests against Israel planned at Eurovision

Protests against Israel have been held over the past few years, in the context of the growing conflict in the Middle East.

However, there is also planned crowd support of Israel and its 28-year-old performer, Noam Bettan.

Bettan said: “I feel amazing, I’m proud to be here, I’m happy to be here. I value this place [Israel] so much, I’ve waited for this for so many, many years.”

The ABC reports that Vienna police have spoken of the security measures attendees can expect.

“There will in fact be blockades and disruptive actions, particularly on the day of the final, whether through authorised or unauthorised gatherings,” said Xenia Zauner, a senior police official.

Delta Goodrem represents Australia at Eurovision

Australia will be represented at the event by Delta Goodrem.

The 41-year-old will perform her new single Eclipse in the second semifinal on Thursday, local time.

“I feel very honoured and grateful to be a part of what is an institution of 70 years of amazing music,” Goodrem said on Sunday at a press conference in Vienna.

At the time of her announcement last year, Goodrem said, “I’m so honoured to represent Australia on one of the biggest and most iconic stages in the world at Eurovision!

“As a singer-songwriter, music has been my lifelong passion. I’ve always loved the creativity, individuality, and joy Eurovision brings, connecting and uniting people across the globe through music: the universal language. I can’t wait to arrive in Vienna and make Australia proud.”

Main image: The streets of Sweden. Martin Meissner/AP

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Netflix has released The Netflix Effect, a global report examining the economic, cultural, and social impact of its films and series worldwide.

The report includes an Australian highlight: Boy Swallows Universe contributed more than A$45 million to the Australian economy.

The production took place across 67 locations in South East Queensland and hired more than 1,000 extras. Tourism Queensland also launched a Discover Brisbane through Boy Swallows Universe tour shortly after the series was released.

Netflix’s local-to-global strategy

In a blog accompanying the report, Netflix’s big boss (co-CEO) Ted Sarandos said the company’s global strategy has always been built on local production.

“Ten years ago, Netflix went from entertaining audiences in about 60 countries to more than 190 in a single day. We said we were ‘looking forward to bringing great stories from all over the world to people all over the world.’”

“At the time, there were plenty of headlines about how Netflix was going global. But we knew, even back then, that the best way to be global was to start off intensely local.”

Sarandos said Netflix now produces shows and movies in more than 4,500 cities and towns across more than 50 countries.

Global investment and jobs

According to Sarandos, Netflix has invested more than US$135 billion in films and series over the past decade, contributing more than US$325 billion to the global economy.

The company said it has created more than 425,000 jobs through its productions alone.

Viewing beyond borders

The report also points to the increasingly global nature of Netflix viewing.

In 2025, 70% of Netflix viewing came from members watching titles from countries other than their own.

A decade ago, non-English-language series and films accounted for less than a tenth of total viewing on Netflix. Today, they account for more than a third.

Netflix said roughly 80% of its members have watched Korean content. In its first three days on the platform, Squid Game Season 3 drew more than 60 million views and reached number one on the non-English TV list in 93 countries.

Licensed content’s second life

The report also highlights the role of licensed content on Netflix.

More than three-quarters of titles on Netflix are licensed from creative partners around the world.

Over the past decade, Netflix said it has licensed films and series from more than 3,000 companies, including public broadcasters.

Australian series Love on the Spectrum is one example cited in the report. After premiering on the ABC in 2019, it landed on Netflix in 2020 and built an international audience.

Building on that success, Netflix commissioned Love on the Spectrum US in 2022, which is now in its fourth season.

The report said the show delivered a step change in scale and visibility for production company Northern Pictures, which became the most awarded Australian company at the Primetime Emmy Awards.

Cultural impact beyond the screen

Sarandos said Netflix titles also shape what people read, buy, listen to, eat, wear and play.

He cited examples such as K-pop Demon Hunters, which became Netflix’s most popular original film of all time and sparked a broader cultural wave.

“When KPop Demon Hunters came out, for example, it became our most-popular original film of all time. But it also created a cultural wave,” Sarandos said.

The company said Golden earned the first Grammy for a K-pop track, while the film won two Academy Awards. Duolingo also reported a 22% rise in the number of Americans studying Korean, and flight bookings to South Korea increased by 25%.

Netflix says it will keep investing

Sarandos said Netflix will continue investing in content, production facilities and training programs as the entertainment industry changes.

The company said its training programs have reached more than 90,000 people across more than 75 countries.

“These days, the entertainment business is changing even faster than when we started – which is why, as we look ahead to the next decade, we’ll keep investing in the relationships we’ve built with the creators we work with, the communities we depend on and the fans who love to watch,” Sarandos said.

“To me, that’s what the Netflix Effect is all about. And while I’m proud of everything we’ve done together, I’m even more excited about what comes next.”

Top image: The Netflix Effect

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How do you celebrate a 3000th birthday in radio? Apparently, with a casino party, a Tom Gleeson roast, Dave Gleeson from the Screaming Jets on stage, and the pièce de résistance, the luxury of sleeping in until 5.50am.

As Triple M Adelaide’s Roo, Ditts & Loz prepares to clock up its 3000th show on Thursday, much of the attention is falling on how Laura O’Callaghan, better known to listeners as Loz, has quietly become one of the defining voices behind one of Australia’s most dominant breakfast radio programs.

For years, the show has been anchored by sporting heavyweights Mark Ricciuto and Chris Dittmar. But O’Callaghan’s arrival in late 2021 marked a subtle shift in both tone and audience, as Triple M continued evolving beyond its traditional blokey DNA.

O’Callaghan, who celebrated five years with Triple M last month and will mark five years on the breakfast show in November, first entered radio through Adelaide community station Fresh 92.7 before joining Triple M in April 2021 to co-host Weekend Breakfast alongside Mark ‘Thomo’ Thomas.

After regularly appearing as a guest on Roo and Ditts’ Breakfast show, she officially joined the line-up later that year.

“I wasn’t certain that it was going to work, to be honest, because I was a bit nervous that people would find me irritating or, I don’t know, whatever it is that people seem to have a problem with female presenters,” O’Callaghan told Mediaweek.

“But it’s been really wonderful to see all of the new female listeners come across.”

That audience shift has become one of the more notable parts of the show’s evolution.

“There have been more female listeners who have jumped on board, which is really exciting,” she said.

O’Callaghan said the show has intentionally avoided leaning into stereotypical “female-targeted” content.

“Sometimes, radio marketed to women can be really kind of stereotypical, obvious, kind of boring, same old, same old,” she said.

“And we’re not really going for that. We’re kind of just talking about life and real human stuff.”

Changing gears

Despite joining two of Adelaide radio’s most established male personalities, O’Callaghan said the dynamic inside the studio has never felt uncomfortable.

“I’m not fussed by it at all. I’ve grown up in pretty male-dominated environments. I’ve worked in a lot of pubs, grown up in footy clubs and that sort of thing,” she said.

“So I’m very familiar with the male specimen, and I’m very comfortable around them, and I enjoy a lot of the things they enjoy. It doesn’t mean I’m not a staunch feminist, but I feel really safe with these guys, and we have a great time.”

Her ability to adapt to live breakfast radio became clear almost immediately after joining the show. During one of her earliest shifts, the team abandoned its planned rundown after news broke that missing four-year-old Cleo Smith had been found alive in Western Australia.

The moment forced the show to pivot on the fly, something O’Callaghan now describes as part of the rhythm of breakfast radio itself.

“You’ve just got to be really adaptable. It’s a bit like learning to drive manual,” she said.

“When you first start, you go, ‘How could I possibly ever do this? This is so overwhelming.’

“And then after a few months you go, ‘Oh, I just realised that I’ve gotten all the way from here to town without realising that I was shifting gears the whole time.’”

 

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Rolling with the punches

That take-it-as-it-comes conversational approach has become central to the show’s success.

“We’re very, very relaxed about the show. We don’t plan. I mean, we’ll plan a segment topic, but we don’t plan it out. We don’t follow a script. We have no idea what we’re going to say,” O’Callaghan said.

“Whoever brought up the topic is responsible for leading the break, and we just sort of have a conversation.

“It takes a lot of trust to get to that point because, you know, it’s one thing to just have a conversation with someone. It’s another thing to do it in front of 200,000 people.”

The chemistry appears to be resonating with audiences. Roo, Ditts & Loz has finished number one in Adelaide in 25 out of the past 26 GfK surveys.

In the most recent survey, the show again topped the market with a 13.9% share, extending one of the strongest winning streaks in Australian metro breakfast radio.

Still, O’Callaghan insists the team rarely obsesses over ratings.

“We’re just not the type of people who think about those things,” she said.

“I know that sounds really annoying, but we just do what we do. We know what works. It comes very naturally to us.”

“We’ve got an amazing team of people around us helping us put together this show, and I think if you start stressing about ratings, it has the opposite effect of what you want it to have, which is just to be ourselves, to be natural. If it’s too contrived, it just starts sounding really lame.”

Party time

Thursday’s 3000-show celebration will double as something of a victory lap for the team, with listeners, producers, friends, family and Adelaide personalities all expected at the casino event.

“We’ve got a big party coming up on Thursday,” O’Callaghan said.

“Tom Gleeson is going to roast us, and Dave Gleeson from the Screaming Jets is going to get up and sing a few songs.”

“I’m really looking forward to it. I just feel like I’ve just woken up from a dream, and I’m part of a successful radio show, and I get to go to a big party, and it’s awesome.”

And after five years inside one of Australia’s toughest radio shifts, O’Callaghan said she’s changed too.

“I’ve just stopped giving a s**t about so many things that don’t matter anymore,” she said.

“You walk through fire, and you kind of come out smooth on the other side, and by walk through fire, I mean getting up at 5am every morning for as long as I have.

“But I’m proud of myself. I’m committed to this job, and I love it. It’s a huge part of my identity.

“I’ll stay for another five if they’ll have me.”

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Meta is expanding its parental supervision tools, giving parents and guardians more insight into the topics shaping their teen’s Instagram algorithm.

The update also consolidates parental tools across Instagram, Meta Horizon, Facebook and Messenger into Family Center, giving families one place to manage supervised teen experiences across Meta’s apps.

Meta said the number of US teens enrolled in supervision on Instagram has more than doubled since last year.

New insights into teen interests

The update builds on Instagram’s Your Algorithm tool, which launched last December and lets users customise their algorithm by choosing to see more or less content around certain topics.

The feature is available on Reels and Explore in English-speaking countries, and will soon come to the main Feed.

Parents and guardians will now be able to view the general topics their teens engage with through Meta’s supervision tools.

Meta said the update is designed to give families a clearer understanding of the content teens see on Instagram, without showing individual posts or private feed details.

How the algorithm insights work

Parents will be able to see general categories of interests their teen wants to see more of.

Teens will also be shown that their parent or guardian can view those general interest categories, but not the individual topics or content in their feed.

Meta said parents in select markets will soon receive notifications when their teen adds a new interest to their algorithm.

For example, if a teen adds an interest such as basketball, photography or musicals, their algorithm may adjust accordingly. Parents will be able to tap on an interest to get more details and better understand the context.

The feature is available globally in English.

Teen safety protections remain

Meta said the new algorithm insights sit alongside existing safety protections in Teen Accounts across Instagram, Facebook and Messenger.

Those protections include automatic privacy settings, limits on who can contact teens and tools to help manage the content they see.

Meta also said some content will not be shown to teens due to 13+ content protections, and its policies do not allow content that violates Community Standards.

Family Centre becomes central hub

Meta is also rolling out a consolidated Family Centre globally. Parents of teens enrolled in supervision can now manage supervised accounts across Instagram, Meta Horizon, Facebook and Messenger in one place.

The update is designed to reduce the need for parents to move between different apps and settings.

What is new in Family Centre

Family Centre now acts as a central hub for supervised accounts across Meta apps.

Parents and guardians can also send a single invitation to supervise their teen across Instagram, Meta Horizon, Facebook and Messenger.

Meta said parents will be able to access the tools through Family Centre, with more features to come. In the coming months, parents will be able to see a broader view of teen activity across Meta apps, including aggregated time spent.

Meta said it will continue expanding supervision tools over the next year to give parents easier access to controls, visibility and support across its apps.

Top image: Meta

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Since its launch in NZ, Hayu built a dedicated subscriber base by serving up a pure, unadulterated feed of reality television, supplying viewers with the glamorous drama of The Real Housewives and the nautical chaos of Below Deck. But after years of keeping things strictly unscripted, the platform is flipping the script on its Kiwi audience.

NBCUniversal announced that from 12 May its direct-to-consumer streaming service, Hayu, will expand its product proposition for New Zealand subscribers.

The platform moves beyond its reality roots to become a broader general entertainment destination. The streamer will now roll out blockbuster movies, iconic television series, and exclusive premium scripted titles.

The scripted content injection

Seasons four and five of Hacks lead the charge for exclusive first-run scripted dramas, alongside Prisoner, The Five Star Weekend, and Devil In Disguise: John Wayne Gacy.

To flesh out the new offering, the platform also opens its extensive vault of Universal Television properties.

Subscribers looking for a laugh can now binge classic comedies like The Office, Parks and Recreation, Will and Grace, and 30 Rock.

For those who prefer high stakes and drama, the streamer brings beloved NBCUniversal series such as Suits, House, and Downton Abbey to the daily lineup.

Beyond television, Hayu now secures Pay-1 window access to recent Universal blockbusters.

This means viewers get early access to major theatrical releases immediately following their cinema run, including Jurassic World Rebirth, How to Train Your Dragon, Wicked: For Good, Bridget Jones: Mad About the Boy, and Prime Minister.

The cinematic expansion continues with iconic franchise films from the Fast & Furious, Bourne, Mamma Mia, Fifty Shades of Grey, and Pitch Perfect universes, alongside timeless classics such as Back to the Future, Jaws, and E.T. The Extra-Terrestrial.

Executive insight

Hendrik McDermott, managing director of international direct-to-consumer at NBCUniversal, noted that amping up the content proposition creates a must-have destination for local fans of both unscripted and scripted content.

“Hayu’s evolution in New Zealand marks an important milestone for NBCUniversal’s direct-to-consumer portfolio. It builds upon our unrivalled streaming destination for lovers of reality TV, bringing them into the general entertainment space,” McDermott said.

Chris Taylor, managing director of NBCUniversal international networks, direct-to-consumer and distribution for APAC, and executive chairman of Bravo New Zealand, added that the company loves offering both genres to Kiwi audiences. Taylor explained this evolution demonstrates a commitment to building upon their strong portfolio of brands in the market.

Reality fans remain covered

Despite the shiny new scripted additions, Hayu reassures its core audience that it continues catering heavily to reality fans. The platform promises every episode and season of major franchises in one place, completely ad-free and ready for download.

The majority of shows, including global heavyweights The Real Housewives, Below Deck, and Vanderpump Rules, will continue streaming on the same day as their United States broadcast.

Hayu also retains exclusive access in New Zealand to fan-favourite reality shows such as Made in Chelsea, The Real Housewives of Atlanta, and Watch What Happens Live with Andy Cohen.

New subscribers can access the service for $10.99 per month, while existing subscribers receive a limited-time rate of $9.99 a month. The platform currently operates across 45 markets globally.

Feature image- Hayu Key Art: supplied.

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Codral has launched Codral Kids, the first dedicated range designed specifically for children.

After decades of helping Australians “soldier on,” the brand is evolving for a new generation of families through a new creative platform, Save the Day, developed by Publicis Groupe.

Taking cues from Soldier On’s longevity, Save the Day has been designed as a lasting platform for Codral Kids, supporting the brand’s entry into the children’s cold-and-flu category.

A new platform for families

The campaign is anchored by a suite of hero films and brand assets designed to help parents feel seen and supported.

At the centre of the work are story-led films built around a familiar household truth: when kids get sick, playtime stops, and nothing feels quite right until they are back to themselves.

Publicis Groupe said the creative platform has been designed to extend beyond the TVC into a broader system of distinctive brand assets, which will be rolling out nationally across cinema, TV, BVOD, YouTube, social, out-of-home and retail.

It is also supported by a strong retail presence designed to capture attention at key purchase moments.

Publicis Groupe on Save the Day

Helge Gruettke, Chief Client Officer at Publicis Groupe ANZ, said the platform was built to grow with the brand.

“We set out to create a platform that could grow with the brand. ‘Save the Day’ gives Codral Kids a distinctive, creative world that can evolve over time while remaining instantly recognisable to families.

“At Publicis, we’ve turned that into an idea that can keep evolving, starting with a new TVC and extending through digital, social and in-store,” Gruettke said.

Kenvue on the launch

Luis Guerrera, Group Marketing Manager at Kenvue, said the campaign reflects the pressure families face during cold and flu season.

“‘Save the Day’ was developed to reflect those everyday moments where routine can quickly unravel, positioning Codral Kids as the dependable hero parents turn to when it matters most.

“It’s a creative expression of Codral Kids’ role in helping families get back on track with confidence,” Guerrera said.

Credits

Kenvue
Luis Guerra Mendoza, Group Marketing Manager
Simone Tawadros, Marketing Activation Manager
Delphine Chassagne, Marketing Activation Manager
Rochelle Boulos, Brand Manager
Wafia Shaheer, Assistant Brand Manager

Publicis Groupe
Helge Gruettke, Chief Client Officer
Kirsty Chase, Operations Director
Manon Debus-Pesquet, Account Director

Top image: Publicis Groupe

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The Seven Network and Southern Cross Austereo (SCA) have launched joint commercial partnership packages for the Rugby League World Cup 2026, ahead of the tournament beginning in October.

Seven and SCA hold the exclusive Australian rights to the tournament, which will air live and free across Seven, 7plus Sport and Triple M.

The Rugby League World Cup 2026 runs from 15 October to 15 November and will feature 18 men’s matches, 15 women’s matches and 20 wheelchair fixtures involving 26 international teams.

Coverage will begin with Australia taking on New Zealand in Sydney, while additional matches will be played in Papua New Guinea and New Zealand.

Coverage across television, streaming and audio

Seven said its coverage would include every match across Seven and 7plus Sport, live streaming, replays, highlights, The Agenda Setters Rugby League, and editorial support across Sunrise, 7NEWS, 7NEWS.com.au, and The Nightly.

Triple M will broadcast 11 matches, including key men’s fixtures, the Women’s Final and Men’s Final, with coverage syndicated nationally and streamed via LiSTNR.

Seven’s Head of the Rugby League World Cup 2026, Lesley Tapsall, said: “RLWC2026 promises an unpredictable and engaging sports and entertainment experience, with passion, pride and culture at the forefront.

“This will be a showcase of the very best of international rugby league – men’s, women’s and wheelchair. With stars in every team, fans can expect the fiercest and most competitive RLWC ever staged.

“When major events are staged in Australia, fan interest and anticipation increase. Every game will be live and exclusive on Seven and 7plus Sport, and RLWC2026 will form part of an epic spring of sport running alongside Australia’s premier thoroughbred racing and our record-breaking Supercars Championship coverage,” she said.

Joint sales strategy

SCA’s Head of Sport Content (On-Air and On Demand), Ewan Giles, said: “Bringing together the sporting equity of Seven and the rugby league heritage of the Triple M network, we are unlocking the most comprehensive and connected RLWC coverage ever staged – and the foundation for a massive marketing and media moment.

“From league fanatics to sport lovers, supporters of Aussies competing on the world stage and those cheering on their native countries, we will capture the interest of a diverse, multicultural Australia.

“Seven and SCA will strategically build far-reaching and powerful promotional pathways across broadcast, digital and audio touchpoints, driving mass marketing and promotional value for brands,” he said.

Southern Cross Media Group Chief Commercial Officer Seb Rennie said: “There’s nothing quite like a World Cup on home soil to capture the nation’s attention. A month-long, live, free-to-air event with national scale and the kind of emotional engagement that only live sport delivers.

“For advertisers, the combination of Seven’s broadcast reach and Triple M’s audio heritage creates a connected ecosystem that’s hard to replicate. Brands that move early will have the chance to own a cultural moment that spans screens, speakers and social feeds right across the country,” he said.

Seven’s Head of Rugby League World Cup sales, Peta McMurray, said: “Australians are passionate about sport. They watch and listen to it. They are totally engaged with it. They talk about it. Sport cuts through – and there is nothing more powerful than live sport.

“Seven and SCA have a strong network of assets connected to consumer habits and consumption, from early anticipation and pre-game hype, through to the live games and post-game analysis. The diversity of touchpoints will enable brands to play a role and own the moment at every stage of the fan journey.

“Screens and audio will complement each other to reach unique audiences, maximising ROI and efficiency via joint planning across complementary inventory, with a consistent brand story following audiences wherever they are,” she said.

“For partners, the Rugby League World Cup 2026 is an opportunity for true brand category ownership against the content everywhere, the chance to be single-minded with brand ideas leveraging event context, right across the RLWC ecosystem.”

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Honda New Zealand has appointed Thompson Spencer as its creative partner following a competitive process among existing agency partners.

The remit spans creative development and production, supporting Honda’s brand and retail activity across New Zealand.

The appointment builds on a year of work between Honda New Zealand and Thompson Spencer, including two major integrated campaigns.

Building on recent Honda campaigns

Thompson Spencer worked with Honda New Zealand on The Perfect Union, a campaign for Honda’s hybrid range. The agency also delivered The Power of Dreams, which launched Honda’s first full EV to the New Zealand market.

Both campaigns were led by robot characters with heart, supported by platform-specific extensions across the media mix.

Thompson Spencer on the appointment

Melanie Spencer, Group CEO of Thompson Spencer, said the agency is proud of the work it has created with Honda over the past year.

“Honda is a legendary brand, and we’re proud of the thinking and work we’ve created together over the past year,” Spencer said.

“From ‘The Perfect Union’ to ‘The Power of Dreams’, this partnership allows us to continue building strong, creative platforms that connect with Honda customers.”

Honda New Zealand on the partnership

Carolyn McMahon, Managing Director of Honda New Zealand, said Thompson Spencer’s ideas and track record made the agency a natural choice.

“Honda is a legendary brand, and the ideas Thompson Spencer presented were distinctive and grounded in a good understanding of our customers,” McMahon said.

“While our focus continues to be on strengthening retail performance, the work we’ve done together over the past year has delivered strong creative and production quality. We look forward to building on this and driving more impactful outcomes moving forward.”

Thompson Spencer will continue to work with Honda New Zealand on creative development and production across brand building and retail performance.

Top image: Honda New Zealand

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Jimmy Kimmel will pull Jimmy Kimmel Live! from the schedule next Thursday night, clearing the field for Stephen Colbert’s final episode of The Late Show.

According to a report from Late Nighter, Jimmy Kimmel Live! will air a rerun on May 21, meaning Colbert’s farewell broadcast will face competition only from The Tonight Show Starring Jimmy Fallon in the 11.30pm slot.

Kimmel confirmed the decision to the outlet, though representatives for the ABC program reportedly did not immediately respond to requests for further comment.

End of an era for Colbert

Colbert has hosted The Late Show for 11 years after succeeding David Letterman in 2015. During his tenure, the program became one of the most-watched shows in US late-night television and collected major industry accolades, including an Emmy and a Peabody Award.

Despite the show’s ratings strength and cultural influence, CBS announced plans to cancel the program last July.

At the time, the network described the move as a “purely financial decision,” adding: “It is not related in any way to the show’s performance, content or other matters happening at Paramount.”

Those “other matters” referred to mounting scrutiny surrounding Paramount’s proposed merger with Skydance, led by David Ellison.

Given Colbert’s long-running criticism of Donald Trump, speculation quickly emerged that the cancellation was tied to broader political and regulatory considerations surrounding merger approval.

Main image: Jimmy Kimmel and Stephen Colbert

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