Multiple sources have confirmed to Mediaweek that Southern Cross Austereo’s (SCA) recent newsroom redundancies are directly connected to the introduction of a new AI-assisted model.

The development follows the company’s merger announcement with Seven West Media (SWM) earlier this month, however the cuts and restructure are not linked to the merger.

In a statement to Mediaweek, an SCA spokesperson said the company is “evolving the way we gather and prepare news bulletins to better serve audiences across Australia, now and into the future.”

While the company maintains the goal is efficiency, sources said the new model integrates AI at the scripting and collation stages of news bulletin production – speeding up workflows but reducing the need for staff.

“I’m not entirely across all the mechanisms,” one insider said, “but the new system will make it quicker for journalists to put together their bulletins.”

When asked if the restructure was directly related to the recent redundancies, the insider offered a pointed and simple “yes”.

Local coverage concerns

When the newsroom cuts first surfaced, industry figures voiced concerns that SCA could be at risk of breaching its local content requirements under the Australian Communications and Media Authority (ACMA).

The regulator requires regional broadcasters to produce at least 62.5 minutes of original local content each week – the equivalent of one full-time journalist’s output.

“If an audit was done, they wouldn’t be genuine local bulletins,” one source told Mediaweek. “No way could they be meeting 62.5 minutes like that.”

At the time, SCA strongly rejected that claim, calling it “factually incorrect” and insisting that “the amount of bulletins in regional areas will actually increase under the changes.”

According to sources, the integration of AI now appears to be a key part of how the company plans to maintain those targets with a smaller team.

Mediaweek has contacted SCA for further comment.

Not the first rodeo

This isn’t the first time AI has entered the radio sphere in Australia.

Earlier this year, Mediaweek reported backlash over the Australian Radio Network’s (ARN) use of an AI-generated radio host named ‘Thy,’ modelled on an employee.

The persona ran four-hour segments without disclosure, and critics called it “tokenistic,” particularly given the racial and representation implications.

ARN defended the trial as an exploration of new technology, but the episode underlines how broadcasters are already testing the boundaries of AI in voice, scripting, and identity.

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When SXSW Sydney first launched in 2023, it set out to create something ambitious – a festival that blended innovation, creativity, and conversation across tech, music, screen, and culture.

Two years on, it’s hit its stride. As the third edition kicks off today, Head of Conference Fenella Kernabone says the event has grown in confidence, quality, and community.

Hitting its rhythm

“When you reach that third year, after doing it the first and second time, you just know what you’re doing a whole lot more,” Kernabone told Mediaweek. “People are also far more familiar with what the content is and what it looks like.”

The result? A sharper, more dynamic program that spans everything from AI and entrepreneurship to music, media, and the future of tourism.

“It’s not just me, but my team, the professionals, and the experts speaking on stage. Those who have submitted their ideas through Session Select have lifted the bar, the quality is just incredible,” Kernabone said.

This year’s line-up includes over 1,200 sessions across the week-long conference and festival, with keynote speakers, mentor sessions, live performances, and immersive experiences designed to fuel ideas and connections.

“The topics are spot on, covering everything we need to know right now, from the impact of AI on businesses across every industry, to people and work, music, and even the future of tourism. It perfectly reflects what this event is all about,” Kernabone added.

A space for fresh ideas and new voices

For Kernabone, what makes SXSW Sydney special isn’t just its scale, but its diversity of voices. “For a conference like this – and many other great events where smart people share ideas on stage – what really stands out is the opportunity to hear voices you don’t usually get to hear,” she said.

“This year, we’ve got startups and entrepreneurs, science leaders, and even quantum pioneers here in Australia. There are also people from the marketing and advertising industries who are deeply tapped into what’s happening globally – and, like everyone else, are passionate about politics too.”

She says this mix of established experts and emerging talent creates the magic that defines SXSW Sydney.

“We’ve got artists, musicians, screen industry professionals, educators, teachers, designers, and architects – all bringing different perspectives to the table. They might be tackling very different topics, but what unites them is that we’re finally hearing from voices that don’t always get the spotlight.”

Connecting culture, creativity and curiosity

After years in television, radio, and journalism, Kernabone says the event speaks to her lifelong curiosity about culture and ideas.

“There’s so much to learn, and that’s why I’m feeling really energised, to be honest,” she said. “For me, it’s about maintaining our connection to culture, to ideas, and to the thinkers shaping today’s conversations.”

She says her team keeps close tabs on global trends to ensure SXSW Sydney remains relevant and responsive.

“Anyone I know in radio, print, digital publishing, or content creation is trying to make sense of what our world looks like now and what it’s going to mean for us – not just this year, but tomorrow, next year, and beyond,” she said.

“We’re constantly asking: who are the voices we need on our stages to explore that?”

And, she admits, those conversations can get lively.

“We’re always debating what’s next, and I’ve always said I’ll keep a few spots open in the big rooms because I know there will always be those timely, of-the-moment topics that come in late but absolutely need to be part of the program.”

A festival that belongs to the city

With the 2024 program spanning venues across Sydney, including Darling Harbour, Haymarket, and Ultimo, the event is once again turning the city into a creative hub for ideas and collaboration.

From the Tech & Innovation Expo to the Music Festival, Screen Festival, and Games Festival, this year’s edition continues to blur the lines between industries and disciplines.

Kernabone says that evolution is part of what makes SXSW Sydney so special. “I don’t have to explain what it is anymore,” she said with a smile. “Now, people are saying, ‘I really want to come. I want to be part of it.’ Because it’s just so much fun.”

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Jackie O has added another title to her long list of accolades – the most powerful woman in Australian radio now graces the cover of T Australia: The New York Times Style Magazine’s ‘Influence’ issue.

Released today, the latest edition celebrates game-changers and visionaries shaping culture – from fashion designers to media leaders – and explores how influence extends far beyond authority or fame.

For Jackie, co-founder of lifestyle brand We Are Besties and host of Her Best Life podcast, the issue lands at a time of personal reinvention. “It’s like shedding that final skin. I’ve definitely had a lot of growth in that time,” she told T Australia, reflecting on a year of self-discovery and transformation.

A year of change

With more than 1.5 million listeners tuning in weekly, Jackie’s voice remains one of radio’s most recognisable. But behind the mic, she’s been navigating sobriety – and confronting the scrutiny that comes with being one of Australia’s most visible women.

“[They say] the first year is the hardest… when I was reading comments that [my weight loss] was [due to the drug] Ozempic, I was quite relieved that that was the narrative and that’s what people were focused on,” she revealed.

Sobriety, she admitted, is “fragile,” but the experience has also brought clarity. “Realising that I didn’t treat myself very kindly or didn’t think I was worth a lot,” Jackie said. Now, she’s turning the page with self-acceptance and a renewed sense of purpose.

She even hints at a new chapter beyond the airwaves: “I know exactly where I’m headed.”

Inside the ‘Influence’ issue

Publisher and Editor-in-Chief Katarina Kroslakova said the issue aims to capture the true, evolving meaning of influence – and why authenticity has become its most powerful form.

“This issue celebrates the true power of influence; authentic, diverse, and ever-evolving,” said Kroslakova. “

From independent designers redefining Australian menswear to startups turning waste into billion-dollar opportunities, the people driving these cultural shifts aren’t just following trends; they’re shaping the future.”

At its centre sits Jackie O – a figure who’s remained relevant and resilient across three decades of media change.

“Thriving in today’s media landscape is no easy feat, yet she continues to prove she has the smarts, humour, empathy, longevity and the passion to sustain her incredible career,” Kroslakova added.

“Jackie O is a true role model for women of all ages, not just for her flawless media path, but for the powerful way she’s embraced this next chapter of her life, inspiring others with her honesty, self-awareness and strength.”

Culture, creativity, and change

Beyond Jackie’s cover story, the Influence issue explores the shifting cultural landscape – from sustainable business to the art world’s new power centres.

Independent designers are pushing Australian menswear beyond traditional norms, while startups are turning waste into profit, showing that sustainability and commercial success can coexist.

The issue also spotlights renowned chef Rick Stein, whose rise to fame was driven “by necessity,” tracing how his career – and the people, produce and values that shaped it – mirror broader changes in Australia’s creative industries.

Meanwhile, the art world’s compass is shifting toward new cultural hubs in the Gulf and Azerbaijan, where fresh perspectives are challenging long-held hierarchies.

T Australia: The New York Times Style Magazine launched in March 2021, bringing the prestige of The New York Times brand together with a distinctly Australian editorial sensibility through KK Press.

The Influence issue is available now in print and online.

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Nine Entertainment Co.’s newly appointed chair, Peter Tonagh, has shared an unlikely but poignant encounter – a private audience with Pope Leo XIV at the Vatican.

Tonagh, who stepped into the role following Catherine West’s recent departure, recounted the experience on LinkedIn, describing the Pope’s remarks on journalism as “a reminder of the critical importance of professional journalism to a well-functioning, cohesive society.”

‘A crucial role in forming consciences’

“This week I had the honour of visiting the Vatican to be part of a private audience with Pope Leo XIV,” Tonagh wrote. “He spoke passionately about the critical role of journalism in today’s society.”

The Pope’s comments, Tonagh said, underscored both the power and the responsibility of the media:

“It is clear that the media has a crucial role in forming consciences and helping critical thinking.”

“One form of active citizenship is to value and support professionals and agencies that demonstrate seriousness and true freedom in their work.”

“Communication must be freed from the misguided thinking that corrupts it, from unfair competition and from the degrading practice of so-called clickbait.”

News organisations “can act as a barrier against those who, through the ancient art of lying, seek to create divisions in order to rule by dividing.”

For Tonagh, these were more than ceremonial sentiments – they carried a clear relevance to modern Australian media, where questions of trust, influence, and accountability continue to shape public debate.

“All valuable lessons for news organisations everywhere,” he added.

‘Don’t just post’

In the comments beneath Tonagh’s post, former News Corp Australia executive and current managing director of Playbook Advice, Michael Wilkins, offered a pointed reminder of what’s at stake: “Let’s hope you can generate some action from that wise counsel. Journalism has never been more important – or more at risk – than it is today. Media is driving division for profit, not bringing us together. Don’t just post, PT. Make a difference.”

Meanwhile, former ABC journalist and Derwent partner Emma Alberici also weighed in, calling Tonagh’s experience “a wonderful one” but noting the deeper structural challenge facing the industry.

“Those are powerful messages but unfortunately the funding model for quality, fearlessly independent journalism is broken,” she wrote. “That’s where I think the conversation needs to turn – and desperately – because AI is only going to be as good as the information it derives its answers from.”
Tonagh replied, acknowledging the point: “That’s definitely the challenge and one that I am very passionate about pursuing.”

A new era

Tonagh’s Vatican visit comes shortly after he succeeded West as Nine’s chair, marking the latest leadership shift at one of Australia’s most influential media companies.

West, who had served since 2022, announced her departure earlier this month, with the board appointing Tonagh – a former Foxtel CEO and News Corp Australia executive – to lead the next phase of governance at Nine.

At the time of his appointment, Tonagh said he was “honoured to take on the role at such a pivotal time for Nine,” adding that the company’s success depends on its “commitment to independence, integrity, and innovation.”

A timely message for modern media

The Pope’s warning against “clickbait” and “unfair competition” feels tailor-made for today’s attention economy – a landscape where every headline competes for a fraction of focus and trust is often the casualty.

For Tonagh, and for Nine under his leadership, the takeaway is unmistakable: navigating the future of media won’t just demand sharp strategy… it’ll demand conscience.

Main image: Peter Tonagh

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After eight years together, Gawk Outdoor and oOh! Media are officially ending their partnership, with agency bookings for Gawk’s network of more than 480 regional billboard faces to transition in-house from 12 January 2026.

The move means agencies and advertisers will no longer be able to book Gawk’s inventory through oOh! Media. Instead, Gawk will manage its own agency relationships, reflecting the company’s rapid regional growth and ambitions to build closer connections with the media industry.

Building its own agency team

To support the change, Gawk has established a new agency sales team. Tim Stevenson steps into the newly created role of group agency director, while Heidi Lawrie continues as agency sales director for Victoria.

New appointments include Mitchell Madeley, Khayam Jeffrey (Sydney) and Sam Liistro (Melbourne) as group sales managers, with Inese White and Akansha Sharma joining as agency sales coordinators.

This team will work directly with agencies nationwide, providing local expertise across Gawk’s regional out-of-home (OOH) network — the largest in south-east Australia.

A word of thanks

Luke Course, director at Gawk Outdoor, acknowledged oOh! Media’s role in the company’s growth: “We could not thank oOh! Media enough for their support over the last eight years. It has allowed us to grow rapidly, and we recognise their important contribution. We are confident we will look back on them as our first serious girlfriend, but now it is time to play the field ourselves and have some fun.”

Stevenson added: “We’ve been the best-kept secret in regional out-of-home. oOh! was our first love, but we’ve built a talented team, the momentum, and a large-scale communications platform to flirt with the whole industry.”

Reinforcing market leadership

Gawk’s independent shift cements its position as a leading player in regional OOH. Its footprint includes more than 422 static and 64 digital billboard faces across Victoria, South Australia and New South Wales.

• In regional Victoria, Gawk holds an estimated 80 per cent share of roadside OOH.
• In South Australia, it operates the largest digital billboard footprint of any provider.
• In regional NSW, Gawk has grown to become the second-largest operator, just behind oOh! Media.

Expanding in New South Wales

Gawk opened its first NSW office in Erina in July, signalling a long-term commitment to the state. The company is also preparing to open a new Sydney office, positioning the team closer to agency partners in the country’s largest media market.

“Having boots on the ground means we can deliver regional campaigns that are as bold and effective as anything in metro markets,” said Course.

About Gawk Outdoor

Founded in 2018 by brothers Luke and James Course, Gawk Outdoor is an independent out-of-home company specialising in high-impact regional billboards. The company was named on the AFR Fast Starters list in 2022 and continues to expand its presence across Victoria, NSW and South Australia.

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Ghosts Australia will haunt local screens from Sunday, 2 November, with a double-episode premiere airing at 8.30pm on 10 and the full eight-episode season available to stream on Paramount+.

The local adaptation of the hit British and US comedy series blends supernatural antics with domestic drama, as it follows a young couple navigating a haunted inheritance.

Tamala Shelton (Cleverman, Nowhere Boys) and Rowan Witt (Totally Completely Fine, Book of Mormon) star as Kate and Sean, who inherit the crumbling Ramshead Manor with plans to turn it into a boutique hotel. But their renovation dreams take a detour when Kate develops the ability to see ghosts — six of whom already call the manor home.

As Kate and Sean try to revive the property, they find themselves tangled in the unfinished business of its supernatural residents. Each episode brings hauntings, century-old secrets, and comedic chaos, while the couple’s relationship is tested by the living and the dead alike.

The ensemble ghost cast includes Mandy McElhinney (Love Child), Brent Hill (Hamilton), Ines English (Last Days of the Space Age), Michelle Brasier (Thank God You’re Here), George Zhao (The Family Law), and Jackson Tozer (Deadloch). Guest appearances include Leah Purcell, Helen Thomson, and Peter Rowsthorn.

Anticipation for the Australian version of Ghosts is high considering the success of the format internationally. The UK version concluded in 2023 after five seasons with strong critical buzz and a high viewership among 16–34-year-olds. The US version similarly is set to debut season five later this week, with around 8-9 million viewers on average.

Other adaptations have also been produced in France, Greece, and Germany.

Produced by BBC Studios Productions Australia, the series is based on the original UK format created by Monumental Television and distributed globally by BBC Studios. The local version received production investment from Screenwest and the Western Australian Production Attraction Incentive.

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Aussie reality TV is about to eat itself, and in the best possible way. The Traitors is back, and this time, it’s supercharged with a cast pulled straight from the country’s most chaotic reality franchises.

From The Bachelor to Survivor, Love Island to MasterChef, familiar faces will battle it out in the ultimate test of trust, deceit, and strategic survival.

And who better to preside over the mayhem than the woman who helped define Australian reality TV itself – Big Brother’s original host, Gretel Killeen.

Such serendipity to have so many reality stars between gigs at the same time.

The global hit format returns with its signature premise: a group of “Faithfuls” work to build a prize fund while a handful of secret “Traitors” work to eliminate them one by one. The challenge? Stay undetected, or risk being banished.

“It’s the ultimate social experiment,” Killeen said when announcing her return as host. “This isn’t about who’s the loudest or flashiest, it’s about who’s the smartest, who can read the room, and who knows when to lie.”

From Idol to deception: Dicko and Cosima reunite

Among the new recruits are some surprising reunions, including Australian Idol’s Ian ‘Dicko’ Dickson and singer Cosima De Vito, who first competed together back in the show’s 2003 debut season.

Now, instead of judging talent, Dicko will need to judge character. De Vito, meanwhile, brings the powerhouse determination that made her one of Idol’s most memorable contestants.

It’s the kind of nostalgic twist that The Traitors thrives on: tapping into old rivalries, unlikely alliances, and that very specific blend of charisma and chaos that only reality veterans can deliver.

Housewives, drag queens, and survivors unite

Representing the high-drama end of the spectrum are Real Housewives icons Gamble Breaux (Melbourne) and Krissy Marsh (Sydney), who will be joined by RuPaul’s Drag Race Down Under stars Kween Kong and judge Rhys Nicholson.

Then come the strategists. Olympian and Australian Survivor champion Shane Gould returns to competition mode, alongside fellow Survivor alumni Kirby Bentley, Henry Nicholson, and AJ Antonios.

And yes, romance and betrayal are still on the table. The Bachelor’s Keira Maguire and Alex Nation, along with MAFS groom Cam Merchant, will test whether love or loyalty stands a chance in a game built entirely on mistrust.

Love Islanders, Block twins, and a Farnham in the manor

Four new arrivals promise to shake things up mid-season. Love Island’s Rachael Evren and Claudia Bonifazio will join fellow Islanders turned Block runners-up Josh and Luke Packham.

Rounding out the cast are MasterChef’s Alvin Quah, Aussie Shore’s Manaaki Hoepo, Big Brother favourite Tully Smyth, Made in Bondi’s Lawson Mahoney, and musician Rob Farnham – son of Australian legend John Farnham.

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News.com.au has launched its first entertainment-focused investigative podcast, Sex, Lies and Streaming, hosted by journalist James Weir.

Across six episodes, the series pulls back the curtain on the multi-billion-dollar adult creator economy, following British OnlyFans star Bonnie Blue during one pivotal week in Las Vegas that could make or break her career.

Combining investigative documentary and reality show elements, the podcast explores the harsh economics and human cost of digital intimacy. Along the way, Weir meets moguls, millionaires and creators who have thrived — or failed — in an industry reshaping modern notions of fame and income.

Kerry Warren, Editor, News.com.au, said the project aims to go beyond the headlines: “Love it or hate it, OnlyFans has exploded into the mainstream, thanks in no small part to the headline-grabbing tactics of Bonnie Blue. We wanted to dig deeper into this cultural phenomenon, to expose the truth of a booming industry and the larger-than-life characters it has spawned – without judgement and with no holds barred.”

Weir, best known for his decade-long reality TV column, brings his trademark wit and curiosity to the new format. “I flew 12,000 kilometres to interview the world’s most controversial woman on her private jet to Las Vegas, only to have her vanish right before take-off,” he said.

“That contradiction — someone who built their entire brand on scandal suddenly trying to hide from it — became the key to understanding not just Bonnie, but the entire creator economy. This podcast isn’t about judging anyone’s choices – it’s about following the money and motivation in an industry that’s boldly reshaping how we consume intimacy.”

Sex, Lies and Streaming launches with two episodes, with new instalments released weekly. Each episode will be supported by video and editorial features on news.com.au.

Top image: James Weir

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Junkee Media has launched its second long-form mini-series, the phodcast, created in partnership with Jose Cuervo Tequila. The four-part series dives into the enduring global fandom surrounding YouTube creators Dan and Phil.

The podcast follows Junkee’s viral 2024 interview with the duo, which coincided with the Australian leg of their sold-out Terrible Influence tour. That conversation quickly became a major moment in Dan and Phil’s online lore, reigniting international fan discussions.

Hosted by Talecia Vescio, Creative Producer at Junkee and a long-time Dan and Phil fan, the phodcast explores the evolution of their fandom, what it meant to grow up with them online, and how the community has evolved over more than a decade. The series is now streaming on Spotify, Apple Podcasts, YouTube, and Junkee’s social channels.

Junkee expands its long-form storytelling

The launch marks part of Junkee’s ongoing push into long-form content formats following its 2024 relaunch. The youth publisher now attracts over 35 million monthly views across its social platforms, including TikTok, Instagram, Pinterest and YouTube, with more than 70 per cent of its audience under 30.

“Jose Cuervo is quite literally connecting the phans via The Jose Hotline – serving Dan and Phil’s community of interactive introverts with branded content that is fun, engaging and ultimately becomes part of the lore itself,” said Jannah Anderson, Marketing and Partnerships Director at Junkee Media.

Connecting with fandoms through branded storytelling

Anderson added that the partnership reflects Jose Cuervo’s commitment to connecting with young adult audiences in authentic ways: “Our long-term partnership with Jose Cuervo (now with refreshingly new Limonada and Coconut Sparkling Margarita premix) shows how brands can participate meaningfully in cultural moments.”

The project highlights the growing convergence of fan culture and branded storytelling, with the phodcast positioned as a case study in how media and marketing can engage deeply loyal online communities.

Episodes are being released weekly across major podcast platforms and YouTube. Custom merchandise for the phodcast is also available through Junkee’s Etsy store.

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Stan has released an exclusive first look at the upcoming Stan Original series Sunny Nights, starring Will Forte (The Last Man on Earth, Bodkin, Saturday Night Live) and D’Arcy Carden (Nobody Wants This, The Good Place, Barry), ahead of its Boxing Day premiere.

Directed and executive produced by Trent O’Donnell (Stan Original Population 11, No Activity, Hacks, Colin from Accounts), the eight-part comedic crime drama follows American siblings Martin Marvin (Forte) and Vicki Marvin (Carden) as they attempt to build a spray tan business in Sydney — and inadvertently find themselves entangled in the city’s criminal underworld.

The sneak peek scene released today shows the pair in urgent need of a loan, hinting that their entrepreneurial dreams are about to collide with trouble. The series sees straight-laced Martin team up with his loose cannon sister Vicki to transform their van-based start-up into a multi-million-dollar empire while staying one step ahead of a ruthless gangster.

Sunny Nights also stars Rachel House (Thor: Ragnarok, Heartbreak High), Jessica De Gouw (The Couple Next Door, The Artful Dodger), Miritana Hughes (Wakefield, Preacher), Ra Chapman (Wentworth), Megan Wilding (Gold Diggers), George Mason (Stan Original Exposure, Black Snow), Matuse (Furiosa: A Mad Max Saga), and former NRL player Willie Mason in his acting debut, alongside a special appearance from Patrick Brammall (Colin from Accounts, No Activity).

The series is produced by Bridget Callow and created by Nick Keetch (Almost Paradise) and Ty Freer (High Fire, Almost Paradise), with additional writing from Marieke Hardy, Lally Katz, Clare Sladden and Niki Aken.

Sunny Nights is a Stan Original from Jungle Entertainment (No Activity, Population 11) and Echo Lake Entertainment (The Great) in association with Cineflix Rights (Last King of The Cross, Tehran), with major production investment from Stan and Screen Australia and financing support from Screen NSW through the Made in NSW Fund. Stan’s executive producers are Cailah Scobie and Amanda Duthie.

The Stan Original Sunny Nights premieres Boxing Day, all episodes at once, only on Stan.

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Just 3 per cent of publishers believe agencies are fully maximising the value and partnership potential of their sell-side relationships, according to new research from industry consultancy WeGrow.

The Publisher Pulse Survey, conducted in August–September 2025, gathered responses from 435 media professionals across 13 major Australian publishers including Seven Network, Nine Network, Network Ten, SBS, ARN, SCA, Nova, News Corp, oOh!media, JCDecaux, QMS, Val Morgan and MiQ.

The study collected more than 3,500 comments, uncovering clear divides in agency behaviour and strategy. While some agencies were praised for transparency and collaboration, others were criticised for poor responsiveness and a lack of structured feedback.

Silence emerges as the biggest friction point

Communication was identified as the single most important success factor, with 52 per cent of respondents listing “the ability to provide feedback” – both positive and negative – as a top-three characteristic of strong agency partners.

One publisher summed up the frustration: “If the client is still deciding, tell the media owner instead of silence. If the client has gone a different route or with a different provider, tell the media owners instead of silence.”

More than 10 per cent of all written comments referenced accessibility and responsiveness as ongoing challenges, and one Victorian general sales manager said they valued an agency simply because they “don’t yell at you.”

‘A roadmap to improvement’

Wendy Gower, founder of WeGrow, said the survey offered a rare view into how agencies are perceived by their publisher partners.

“Our Agency Pulse survey found that so many agencies are now time poor, they require media salespeople to show up prepared, curious, and with responses tailored and on point,” Gower said. “Through the work I do, and the surveys conducted, I now have a really unique lens on the success markers of agency and publisher relationships – that are all structurally unstable.”

Gower added that agencies which prioritise feedback, responsiveness and collaboration would see a competitive advantage: ““Through the work I do, and the surveys conducted, I now have a really unique lens on the success markers of agency and publisher relationships – that are all structurally unstable.”

Publishers as advocates — and critics

Publishers can also act as informal advocates or detractors for clients in new business pitches, the report noted — meaning stronger agency relationships could directly influence future commercial wins.

Mark Fairhurst, chief revenue officer, oOh!media, said the study provided an important opportunity for reflection. “Partnerships are built through positive shared experience, and great partnerships deliver great work,” he said. “Taking time to pause, reflect and share feedback on what’s really working and what isn’t makes good business sense.”

Nikki Rooke, national sales director, Total Television at Nine, called the study “an invaluable temperature check on how media owners are feeling about their interactions with agencies and the areas that could be improved to drive greater collaboration.”

The 2025 Publisher Pulse follows WeGrow’s Agency Pulse survey released in November 2024, which captured agencies’ views of their publisher relationships.

Top image: Wendy Gower, founder of WeGrow

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