What happens when you strip back the glossy veneers of reality TV and replace them with something raw, real-time, and unashamedly shareable?
That’s the question at the heart of Josh and Stefano, a new experimental series from the AIIMS Creator Hub that’s already making waves on TikTok and Instagram.
The format isn’t unlike Married At First Sight: match two strangers, watch them get married, and film their fledgling relationship as it unfolds.
But, here, there’s no flashy tasks, no dramatic twists, just the highs and lows of trying to make love work in real time.
Since launching last week, Josh and Stefano has notched up more than 700,000 views across social, and over 10,000 followers on Instagram alone.
And here’s the kicker: the entire project is unfunded, entirely self-produced, and refreshingly free from the tropes that define mainstream dating shows.
Josh and his new ‘husband’ Stefano
The brains behind the experiment is the creator behind the popular MAFS Funny podcast Joshua Fox, whose decade-long obsession with reality dating formats sparked the idea for something more intimate, and more modern.
“We’re piloting the format with me and a man that our executive producer has matched me with. The show follows where we met, married and our lives after moving in together,” Fox explains.
“There are no tasks, twists, or things to test us, it can happen naturally, with mini updates every day. It’s all unfolding in real time.”
The daily updates take shape as snappy Instagram reels and TikToks, think quick glimpses into domestic life, from quiet dinners to messy miscommunications. Love bites, if you will.
But there’s a podcast layer too, offering deeper, more vulnerable conversations that can’t fit into 30-second sound bites.
“The fascination,” Fox continues, “is how we all follow the lives and relationships of strangers on social media from all over the world… but those people often curate their posts to only include the positive. What if we documented the good, the bad, and everything in between?”
Josh and his ‘husband’ Stefano in a candid shot after their ‘wedding’
The man behind the match is Pedro Cuccovillo Vitola, known for co-hosting the MAFS Funny podcast, a wildly popular recap show that turned its audience into a community. But with Married At First Sight off air, Cuccovillo Vitola saw an opportunity to go deeper.
“Many people thought the podcast would die when this year’s MAFS ended, but they were wrong,” he says. “It’s now a leading platform for entertainment content.”
That platform now powers Josh and Stefano, giving fans a familiar lens into a new kind of romance, one that unfolds in real-time, not post-production.
“My biggest issue with traditional reality shows is I struggle to keep up,” Cuccovillo Vitola says. “Miss one or two episodes and you’re lost. But short-form content changes that. You can follow along casually on Instagram, and then go deeper with the podcast.”
Pedro Cuccovillo Vitola and Joshua Fox at AIIMS Creative Hub.
At its core, Josh and Stefano taps into the seismic shift in how audiences engage with romance and reality. According to Fox, the way we consume “relationship content” has evolved, and TV has a lot of catching up to do.
“These days, there are so many ways to watch relationships blossom and fall apart without even turning your TV on,” he says. “We all invest time in strangers’ love lives on social, which now feels more ‘real’ than traditional ‘reality TV’.”
That shift isn’t just about audience attention, it’s about where brands are choosing to show up.
Despite its reach, Josh and Stefano has no major commercial sponsors, but that doesn’t mean brands aren’t already watching closely… or joining in.
“We’re self-funding this as a pilot,” Cuccovillo Vitola explains. “It’s already being proven with 700,000 views in a week, but we wanted to show brands this format works.”
In fact, some brands are already getting onboard. Boutique accommodation Berida Hotel, in the NSW Southern Highlands, partnered with the creators to host the couple’s honeymoon stay, a collaboration arranged not through a flashy media buy, but via simple social media tags and content swaps.
It’s a tangible example of how businesses, even outside the media and entertainment space, are beginning to rethink how they integrate with content. Rather than relying on traditional advertising schedules or TV product placement, brands like Berida Hotel are leaning into organic, influencer-style partnerships built on authentic engagement and social-first storytelling.
“Many brands are still hesitant to move away from traditional media,” Cuccovillo Vitola adds. “But if something like this can get more eyeballs than what’s on TV, the big question is whether brands are ready to adapt, to participate through integrated content or product placement.”
The Berida Hotel took care of the pair’s honeymoon stay in exchange for social media posts
With the media landscape increasingly fragmented and audiences craving shorter, smarter, more authentic stories, Josh and Stefano feels like a quiet revolution. It’s social-first storytelling, powered by curiosity, with no contrived conflict or flashy format.
And it’s working.
As Fox puts it, “We want to pilot that real-time, organic approach to documenting a relationship that most of the world are already doing on their own socials, but make it into its own standalone series.”
Australian consumers are among the world’s most brand-agnostic, with new research revealing they are 69% more likely to lack brand loyalty altogether.
The finding comes from Dotdigital’s latest global consumer insights study, The Loyalty Divide, which paints a clear picture of a market where trust, transparency, and tangible value have overtaken traditional loyalty tactics.
Based on a survey of more than 3,000 global consumers, including 1,000 Australians, the research underscores the unique challenges facing marketers in Australia, where privacy concerns are high, and patience for impersonal, high-frequency communications is wearing thin.
“Australian shoppers value their privacy and their time,” said Rohan Lock, APAC GM at Dotdigital. “They’re more reluctant to opt into loyalty schemes or communication streams unless brands demonstrate true value and respect.
“That’s why brands in Australia must go beyond one-size-fits-all loyalty approaches. The winning formula here includes genuine trust, low-friction incentives, and communication that’s both timely and relevant.”
In a region often seen as a testbed for global marketing campaigns, Australia is proving to be a tougher terrain when it comes to loyalty.
According to the data, 10% of Australian consumers won’t share any personal data with brands, even if it means forfeiting rewards. A further 27% say they’re uncomfortable with data sharing, but may be open to it if the return is right.
That cautious approach extends to communication preferences. While 58% prefer email for brand contact, the appetite for frequent messaging is limited.
Push notifications (8%) and SMS (9%) remain niche preferences, suggesting that brands need to be more measured and relevant in their outreach.
The study also reveals that cashback (56%) and free delivery/returns (51%) are the most motivating rewards for Australians, far outpacing more complex models like tiered (9%) or subscription-based (5%) loyalty programs.
Lock adds, “While trust and cautious data sharing define the Australian market, there’s real opportunity for brands that invest in personalised, transparent, and frictionless experiences. When consumers feel respected and rewarded, loyalty naturally follows.”
Another key takeaway reveals that 48% of Australians say customer reviews influence their purchasing decisions more than influencer endorsements or even price, revealing the rising power of peer validation.
For marketers relying heavily on creator partnerships or promotional discounts, the message is clear, authentic social proof may be more valuable than splashy campaigns.
Younger consumers also expect more than transactional perks.
Among Gen Z Australians, 39% say they are loyal to brands that reflect their values, particularly sustainability. Yet 27% of Gen Z say brands aren’t doing enough to personalise the experience, signalling a clear gap between expectation and delivery.
In a market defined by caution, value sensitivity, and data scepticism, winning loyalty isn’t about pushing harder, it’s about being smarter. Brands that can offer relevance without intrusion, and rewards without complexity, are better positioned to cut through the noise.
Dotdigital’s findings challenge the industry to rethink loyalty not as a program, but as an earned relationship, one rooted in respect, relevance, and clear value.
Paramount+ has announced the return of its Winter Festival of Football, beginning with a historic three-match tour of Australia by Wrexham AFC. Wrexham’s participation follows their rapid ascent from non-league status to within grasp of joining the Premier League, propelled by co-owners Ryan Reynolds and Rob McElhenney and global visibility through the “Welcome to Wrexham” documentary.
The tour will see Wrexham AFC face Melbourne Victory on Friday 11 July at Marvel Stadium, Sydney FC on Tuesday 15 July at Allianz Stadium, and Wellington Phoenix on Saturday 19 July at SKY Stadium. All matches will stream live and exclusively on Paramount+.
Once a struggling non-league club in North Wales, Wrexham AFC was acquired in 2020 by actors Ryan Reynolds and Rob McElhenney. Since then, the team has become a global curiosity, rising from the fifth tier of English football to the Championship in just four seasons. Their ascent has been chronicled in the Emmy-winning documentary series Welcome to Wrexham, which helped transform the club into an international brand with a devoted worldwide following.
Wrexham AFC Co-Chairmen Ryan Reynolds and Rob McElhenney said “From the very beginning, we wanted to help make Wrexham a globally recognised team, town and brand. We could not be more excited to bring the Red Dragons to Australia and New Zealand—and we’re particularly proud this announcement includes neither a Men at Work nor Hugh Jackman joke. The latter took real restraint.”
The Winter Festival of Football will continue in Asia with the Singapore and Hong Kong football festivals. Featured matches include Arsenal FC vs. AC Milan (Wednesday 23 July) and Arsenal FC vs. Newcastle United (Sunday 27 July) in Singapore, followed by Liverpool FC vs. AC Milan (Saturday 26 July) and Arsenal FC vs. Tottenham Hotspur FC (Thursday 31 July) in Hong Kong. All matches are scheduled for 9:30pm AEST, offering Australian fans a rare chance to watch top European clubs at a convenient hour, without the usual early-morning kickoffs.
The announcement reinforces Paramount+’s positioning in live sports streaming, with the platform offering exclusive access to both local and international football content across the month of July.
Toni Lodge and Ryan Jon Dunn have received international recognition at the 29th Annual Webby Awards, held at Cipriani Wall Street in New York City, where their podcast Toni & Ryan was awarded the People’s Voice Award in the Podcasts category.
The Melbourne-based creators accepted the award in person at the ceremony, delivering one of the event’s signature five-word speeches: “Just start a f****** blog.”
The remark echoed the show’s independent origins, which began after both hosts transitioned from commercial radio into podcasting, and has now built a dedicated global following known as TARPers.
Following the ceremony, Dunn posted on Instagram: “WINNERS are GRINNERS! Thanks for listening, watching, sharing your stories and putting up with ours… TARPers are the greatest people in the world and we couldn’t do it with out you!”
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Established in 1996, the Webby Awards are presented by the International Academy of Digital Arts and Sciences (IADAS) and honour excellence across the Internet, spanning podcasts, websites, video, advertising, and more.
This year’s event, themed “All Good,” was hosted by comedian and actor Ilana Glazer and featured appearances from internet and entertainment figures including Snoop Dogg, Walton Goggins, and The Rizzler.
Webby Executive Director Jesse Feister highlighted the role of digital platforms in elevating self-made creators, noting: “What I love most about the internet is that it gives talented, self-made, creative people a way in. And tonight’s winners are proof of that.”
Ryan Jon Dunn and Toni Lodge attend the 29th Annual Webby Awards.
Lodge and Dunn’s podcast’s win underlines the increasing global profile of Australian independent content in the podcasting space.
Media agency executives turned out in their droves for SBS’s annual Eurovision karaoke parties across Melbourne, Brisbane, Adelaide and Perth last Thursday.
Melbourne was the largest of the Eurovision parties, with 250 people in attendance at Evie’s Disco Diner (the queue to get in literally stretched around the corner).
The Melbourne event had an 80s theme and was hosted by performer Skyla who delighted the audience with a surprise performance to Loreen’s Euphoria.
In Melbourne, the winner was Bella Swan from Spark Foundry. who has competed multiple years, came 2nd place in 2024 and rose to 1st place this year.
In Brisbane, the theme was Eurovision Throughout the Ages with Elyssa Schultz from OMD taking home best dressed for the fourth year in a row with her hand-crafted Nemo costume.
The event opened with Grammy winning Saxophonist Shelley Bishop and SBS’s very own Fin Miller singing a rendition of Never Tear Us Apart.
According to reports, across all four cities, the range of singing abilities did vary, however the passion for Eurovision was universal.
The agency people will be among the millions of Australians who tune in this week to watch Go-Jo take to the stage in Switzerland for the Eurovision Song Contest 2025.
SBS’s exclusive LIVE and prime time coverage airs from Wednesday 14 – Sunday 18 May on SBS and SBS On Demand.
A full list of winners from each market below:
Melbourne
1st Place – Bella Swan from Spark Foundry
2nd Place – Isabelle Barton & Gennah Adams from PHD
3rd Place – Tim Dutton-Ashcroft from Mindshare
Best Dressed – Marshall Raven from Spark Foundry
Brisbane
1st Place – Chris Ernst and Aidan Ryan from Dentsu
2nd Place – Georgia Dunster and Lilyana Brady from Zenith
3rd Place – Alina Peintner, Stewart Lucas, Harriet Ryan and Paris Comiskey from Wavemaker
Best Dressed – Elyssa Schultz from OMD
Adelaide
1st Place – Tessa, Tarris and Kayla from Atomic (Team 1)
2nd Place – Miles, Mackenzie, Sophie and Jess from East End Marketing
3rd Place – Jordan Hooper from Wavemaker
Best Dressed – Sahara, Sarah, Ray, Evelyn, Steph, Elaine, Tanya, Ella & Erin from Atomic (Team 2)
Perth
1st place – Leo Mazzella and Daniella De Rozario from OMD
2nd place – Jess Wilkins, Steph Pitaloka, Nyiko Mondlani and Silika Pinto from Initiative
Best Dressed – Nyiko from Initiative
Due to strong demand and an ongoing interest from across the industry, Mediaweek has extended the entry deadline for the Next of the Best Awards, 2025.
Entries will now be accepted until Wednesday, 14 May at 11.59pm.
The updated deadline gives emerging media leaders and creative teams additional time to finalise their submissions and ensure their achievements are recognised.
Mediaweek’s Head of Content Frances Sheen said, “The calibre of entries so far has been exceptional. Extending the deadline gives more space for those final entries and allows us to shine a spotlight on the rising stars of the industry.”
The Next of the Best Awards celebrate Australia’s emerging media talent – the stars driving innovation, creativity, and change.
Finalists will be announced in early June, with winners revealed at the live event on Thursday, 13 June.
These are not age-based awards, but open to anyone who has been working in their current field or role for 15 years or less. You can download the criteria here.
Recognising professionals who drive growth, innovation, and engagement in the audio and podcasting industries.
For professionals making waves in marketing through successful campaigns and innovative thinking.
Celebrating journalistic excellence with a focus on audience impact and storytelling.
Recognising creative talent shaping advertising through originality, campaign success, and audience engagement.
Recognising individuals who excel in the use of data and research to drive decision-making, insights, and innovation within the media industry
For those excelling in strategic marketing, data-driven decision-making, and audience segmentation.
Honouring digital creators who have demonstrated growth, creativity, and monetisation success.
Recognising rising publicists who have successfully shaped media narratives and public perception.
Honouring professionals leveraging AdTech innovations to enhance digital advertising effectiveness.
Recognising media sales professionals driving revenue growth through strategic thinking and strong client relationships.
Celebrating planners and buyers who excel through innovative thinking, data-driven decision-making, and impactful campaign execution.
Recognising emerging talents in publishing who are redefining the industry through editorial excellence, and audience growth across print and online platforms.
Recognising the talent behind the camera of on-screen content production from the big to the small screen through creativity and commercial success.
For exceptional leadership and impact at senior or executive level.
Recognising individuals who have made a significant impact in driving change, innovation, or transformation.
Nominate yourself or someone else for a Mediaweek Next of the Best Award now.
When Tiff Ng, founder of social media agency The Social Story, walked away from Mediaweek’s Next of the Best awards last year with the Changemaker Award, she called the recognition “thrilling and so unexpected.”
The night itself, she said, was a whirlwind: “It was overwhelming in the best way. There was such great talent in our category. I got to meet people I admire, Emma from The Wiggles was there! It was a joy to celebrate with the industry and to leave with a trophy was the cherry on top.”
Ng, who FaceTimed her family moments after her win despite the music blaring in the background, said the experience was surreal. “I was shaking! I wanted to use the moment to speak about the change we’re trying to create. Hopefully I said something coherent.”
In an industry often dominated by big-name players, the award helped spotlight Ng’s values-led work and showed that there’s a place for purpose-driven businesses in the mainstream media and advertising landscape.
“We’re a small agency, so it really helped validate what we’re trying to do. It showed the industry is open to positive change,” Ng said.
Tiff Ng with her Next of the Best award
Ng launched The Social Story with a clear mission: to make social media a space for good. Her agency focuses on campaigns that champion diversity, inclusion, accessibility, and sustainability, both in how content is made and how it’s shared. “It’s not just about how we work but what we create,” she explained. “The award helped us amplify that message more widely.”
While many brands still lean into tried-and-true advertising formulas, Ng has a different approach. “There’s pressure to do things the ‘old way,’” she admitted. “But even small changes, like making videos accessible or using diverse talent, can have big impacts. It just takes intention.”
You can listen to Tiff Ng’s chat with Mediaweek’s Natasha Lee here:
For Ng, running a purpose-led agency means constantly pushing for integrity in a fast-moving and often metrics-obsessed space. “It’s like playing the game on hard mode,” she said. “There’s no clear guide, you’re questioning every decision, onboarding differently, even choosing ethical banks. But the impact is worth it.”
That sense of purpose, Ng added, is more than a business strategy, it’s personal.
“I love it. It’s the world I want to see, for future generations, especially young people navigating media today. As an Asian-Australian daughter of immigrants, I didn’t grow up seeing people like me in leadership roles. I want to help change that,” she said.
For brands navigating the ever-shifting digital landscape, Ng believes storytelling is still king. “Whether it’s Nike, Apple, or a small brand, storytelling is everything. When it’s missing, you lose the audience.”
Through curated content, fan-focused community building, and a refusal to broadcast without listening, The Social Story is helping clients go beyond surface-level engagement.
“Social isn’t just about broadcasting, it’s about relationships,” Ng said. “We help people understand how the platforms work and how to use them with intention. It’s not just scary tech, it’s what we make of it.”
For those considering entering the Next of the Best Awards, Ng has a clear message: “Tell your story. You have no idea who it might impact, including yourself. Reflecting on your journey is empowering. You might think, ‘Who am I to enter?’ but that story deserves to be heard, especially by others who might not see themselves represented.”
New research reveals a stark reality for brands still relying on traditional, separate media strategies for different channels; they may be contributing to a huge 90% increase in consumer ad fatigue.
In The Untapped Opportunity of Omnichannel, a first-of-its-kind Australian study, the findings highlight how fragmented, single-channel campaigns are increasingly misaligned with the way Australians consume media.
Today’s audiences engage across an average of five channels per day, yet many media plans are still executed in silos, leading to repetitive messaging, audience disengagement, and often, wasted spend.
The research was carried out by The Trade Desk in partnership with PA Consulting and Brainsights and collected 63 hours of brain activity and nearly 800 million brainwave data points from participants consuming a variety of media.
These insights were combined with a survey of 2,000 Australian consumers in a quantitative study to build a unique data set focused on audience-first strategies, sizing the needs and channel choices of audiences across different media moments and mindsets.
Controlled tests then explored the neurological response to channels in omnichannel campaigns versus multichannel campaigns, measuring the impact on attention, memory encoding, and fatigue.
Using both neuroscience and behavioural data, the study compared multichannel and omnichannel advertising approaches to understand their impact on consumer engagement, memory, motivation, and emotional response.
The results were clear: omnichannel campaigns delivered significantly stronger performance across key brand metrics.
Compared to disconnected media strategies, omnichannel campaigns were:
70% more memorable
50% more persuasive
50% better at building consumer connection
40% more attention-grabbing
Importantly, the study found that 73% of Australians are tired of seeing repetitive ads on a single channel, highlighting the limitations of siloed media planning in today’s fragmented media environment.
A multichannel campaign simply uses more than one platform to deliver a message, but the channels are typically planned and executed independently.
In contrast, an omnichannel campaign takes an audience-first approach, connecting three or more digital channels, such as mobile, display, native, video, audio, digital out-of-home (DOOH), or BVOD/CTV, into one cohesive, coordinated campaign. This approach allows for optimised frequency and sequencing, ensuring the messaging aligns with how people naturally move across platforms and devices.
Sara Picazo, Director of Market Research and Insights at The Trade Desk, said: “The customer experience is at the heart of good advertising. When the data shows that traditional, single-channel approaches are losing effectiveness, it’s time to rethink the approach.
“People move between platforms and devices. An omnichannel approach allows brands to manage frequency across channels, publishers, and platforms, while delivering a cohesive sequence of relevant messages.
“By placing the audience at the centre of this strategy, we align more closely with how people actually consume media. And that’s how we enhance the ad experience for consumers that ultimately deliver stronger business outcomes for brands.”
The research also breaks down the unique strengths of individual media channels and demonstrates how their effectiveness is amplified when part of an integrated, omnichannel campaign:
BVOD/CTV: Due to its immersive storytelling capabilities, connected TV builds a 130% stronger emotional connection and drives a 110% higher brand affinity when integrated into an omnichannel strategy.
Audio: Often reaching audiences during personal, everyday moments, audio campaigns deliver 110% more immersion and 80% greater brand affinity compared to when the channel is used in isolation.
DOOH: One in three Australians strongly recall ads seen in digital out-of-home environments, thanks to location-based relevance and dynamic, contextually aware creative.
With advertising budgets under pressure and consumer attention more fragmented than ever, the message from this research suggests media strategies must evolve.
To read the full report, visit here
With ad dollars under pressure and streaming competition at a peak, Disney pulled out all the stops at its 2025 Upfronts in New York on Wednesday (AEST), unveiling a slate of new content, tech innovations and a long-anticipated direct-to-consumer ESPN streamer.
Even CEO Bob Iger turned up, his second year running, underscoring the strategic weight behind the showcase.
In true Disney fashion, the event had the polish of a premiere and the bite of late-night. Longtime Upfronts host Jimmy Kimmel returned with his usual roast: “Bob doesn’t care if this whole room turns into Avengers: Endgame dust.”
But beyond the gags, the message was clear: Disney is doubling down on what it sees as its winning trio: premium content, first-party data, and a growing arsenal of ad tech.
Jimmy Kimmel
Talent was front and centre. FX’s breakout hit The Bear served up a fresh Season 4 trailer, introduced by stars Ayo Edebiri, Ebon Moss-Bachrach and Jeremy Allen White.
ABC’s fall schedule might be light on new dramas: with 9-1-1: Nashville being the lone addition, but Disney compensated with big names: Tim Allen (Shifting Gears), Timothy Olyphant (Alien: Earth), Charlie Cox (Daredevil: Born Again), and Ryan Murphy’s latest Hulu legal drama All’s Fair, introduced by Kim Kardashian, Glenn Close and Sarah Paulson.
Ahead of the Upfronts, ESPN held its own presser to formally introduce its direct-to-consumer app.
The name? Simply ESPN.
For $29.99/month (or $35.99 bundled with Disney+ and Hulu), subscribers get access to all ESPN channels and ESPN+ content in one place. A promo bundle offers 12 months at the lower price.
“Why build a new brand when we already have one that means the mos
t to fans across every generation?” said Tina Thornton, ESPN’s EVP of Marketing.
ESPN Chairman Jimmy Pitaro declined to forecast user numbers, but confirmed the platform will include pass-through ads from linear, as well as connected TV exclusives.
Beyond ads, Disney is exploring integrations around fantasy, betting and shopping (yes, really) which could be spun into cross-platform sponsorships, said Ad Sales President Rita Ferro.
“How do we take [linear sponsorships] to a multi-platform experience… and still activate around traditional models advertisers want to be part of?,” she said.
Disney Ad Sales President Rita Ferro
Ferro also announced the launch of Disney Experience Composer, a tool designed to help brands tweak campaigns using real-time insights.
There’s also Compass, a data collaboration platform first revealed at CES – the company’s annual tech and data showcase held in January – which lets advertisers plug into Disney’s audience segments for sharper targeting.
Personalisation was a major theme, with Disney expanding its AI toolset: Disney Select AI Engine auto-builds audience segments, while Magic Words uses AI to match ads with relevant emotional beats in content (think: tailoring spots during a nail-biter game or a tearful Oscars monologue).
Programmatic access to Disney’s live sports inventory, through Google’s DV360, The Trade Desk and Yahoo, is also expanding.
Disney CEO Bob Iger
Live sport, particularly women’s sport, was framed as a major growth driver.
“ESPN is true to women’s sports, not new to women’s sports,” said sports writer Elle Duncan.
“Our commitment is fueling the growth of ESPN. Last year, fans spent 54% more time watching and that includes the WNBA, college basketball, gymnastics, volleyball and tennis.”
In a move proving the company is putting its money where it’s mouth is, Disney+ will debut a new sports studio show (featuring Duncan) Vibe Check in June.
The all-female-led format promises fresh takes, athlete-driven storytelling, and a spotlight on the rising tide of women’s sport across codes and continents.
Locally, ESPN on Disney+ is already up and running. The dedicated sports hub launched in March for all subscribers in Australia and New Zealand, marking a key milestone in Disney’s global DTC sports play.
“The new home ground for sports entertainment,” is how Kylie Watson-Wheeler, Senior Vice President and Managing Director of The Walt Disney Company Australia and New Zealand and Head of ESPN Asia-Pacific described the offering. “We’re thrilled ESPN on Disney+ is now streaming for all subscribers in Australia and New Zealand,” she said.
GWM has teamed up with Thinkerbell to launch its new Cannon Alpha Plug-in Hybrid: The Carpool, a heated, bubbling spa bath that fits in the rear tray and runs entirely off the GWM Cannon Alpha PHEVs class leading 37.1kwH EV battery and vehicles to load (V2L) capability.
The Carpool has the ability to heat and bubble all day and turn any destination into a luxury escape, letting drivers soak up Australia’s most breathtaking landscapes from the comfort of their personal hot tub.
Australian professional surfer, Jack Robinson, tested out the Cannon Alpha Plug-In Hybrid’s CarPool, which was launched at Burleigh Heads during the World Surf League this month, overlooking the iconic surf break and capturing the spirit of adventure with a touch of indulgence.
Australian professional surfer, Jack Robinson, tested out the Cannon Alpha Plug-In Hybrid’s CarPool, which was launched at Burleigh Heads during the World Surf League this month,
Steve Maciver, Head of Marketing and Communications at GWM, said: “GWM’s new Cannon Alpha Plug-in Hybrid is the perfect embodiment of our promise, ‘Go With More’.
“It’s an amazing combination of the tough capability needed on and off Australian roads and innovative technology, with class leading plug-in technology allowing users to power external appliances (such as the GWM CarPool).”
Tom Wenborn, Chief Creative Tinker at Thinkerbell, said: “Equipped with features typically reserved for premium luxury vehicles, the Cannon Alpha Plug-in Hybrid redefines what it means to explore off the beaten track. To celebrate its forthcoming launch we thought it only fitting that we brought its cutting-edge technology to life with just one more thing… bubbles.”
Following hundreds of enquiries from consumers during the Gold Coast Pro 2025, the Carpool prototype will now enter a new phase of R&D with hopes of bringing a low cost, highly portable accessory for the Cannon Alpha Plug-in Hybrid to market in late 2025.
Tom Wenborn, Chief Creative Tinker at Thinkerbell, said: “The Cannon Alpha Plug-in Hybrid redefines what it means to explore off the beaten track. To celebrate its forthcoming launch we thought it only fitting that we brought its cutting-edge technology to life with just one more thing… bubbles.” Pictured: Australian professional surfer, Jack Robinson, tested out the Cannon Alpha Plug-In Hybrid’s CarPool.
Credits
Client – GWM
Agency – Thinkerbell
From its Person of the Year to the TIME 100, few publications have been able to shape the global conversation like TIME Magazine.
For over 25 years, D.W. Pine has served as the creative force behind the magazine’s visual identity, shaping the way millions of readers understood the world, one cover at a time.
As TIME’s Creative Director, Pine led the design of more than 1,000 covers, fusing art, journalism and cultural critique in ways that have sparked global conversation, debate, and sometimes outrage.
Whether illustrating political turmoil, social movements, or existential questions, Pine’s work has become a vital part of TIME’s storytelling legacy.
D.W. Pine
“I don’t typically like to choose my favourite covers,” Pine admitted to Mediaweek. “They all have their own stories to tell.”
In fact, only one hangs in his home: a 1950 TIME illustration by Boris Artzybasheff, his favourite artist, depicting a Coca-Cola sign serving the world a Coke.
“Artzybasheff produced more than 200 covers between the 1940s and 1960s,” Pine says. “And I’m from Atlanta, the home of Coca-Cola, so that one means a lot.”
That said, Pine has selected ten TIME covers that he finds particularly impactful, each with a story, a creative challenge, or a cultural flashpoint that made it stand out in a career spanning 25 years.
Read on as he shares the covers and the thinking behind them in this Mediaweek exclusive.
Nothing to See Here | February 27, 2017
“The image that launched a series of five covers capturing President Trump in various levels of turmoil with the Oval Office. Illustrated by longtime TIME collaborator Tim O’Brien, who has produced more TIME covers than anyone in the past 30 years.”
Elon Behind Desk | February 24, 2025
“Sometimes the most powerful covers don’t need a single word. This stark, minimalist image of Elon Musk seated behind the Resolute Desk sent shockwaves worldwide. At a time when Musk’s influence over the U.S. government was a mounting concern, this cover distilled public unease into a single, provocative visual. In one image the magazine captured the emotional gravity of the moment, and the world took notice”.
The Drone Age | June 1, 2018
“I’ve spent my career staring at the 8 x 10.5 inch TIME cover template on my computer screen, but, of course, never 400 feet in the air with 958 drones forming the iconic red border. Definitely a special moment for me.”
Finding Hope | April 27, 2020
Set against the eerie quiet of pandemic-stricken Paris, this cover emerged as a global beacon of resilience. French artist and photographer JR, known for his large-scale public installations, worked overnight with his team to stage the powerful image, an act of creative defiance in a time of fear and isolation.
“In the midst of the global COVID pandemic,” Pine explaines “this cover offered a glimpse of hope when the world desperately needed it.”
The emotional weight of the moment, paired with JR’s signature visual style, turned the issue into more than a magazine, it was a message.
Christine Blasey Ford | October 15, 2018
“Working tirelessly overnight, artist John Mavroudis was able to capture a powerful portrait of Christine Blasey-Ford following her testimony about Supreme Court justice Brett Kavanaugh. Her powerful words rendered an impactful image of her testifying.”
Aisha | August 9, 2010
“Aisha, an 18-year old woman from Afghanistan, had her nose and ears caught off by the Taliban. It’s an extremely difficult image to look at, prompting then-editor Rick Stengel to consult with child psychologists to help him decide whether or not to publish it. The decision was incredibly important to give our readers a sense of what was happening on the ground in Afghanistan.”
Meltdown | August 22, 2016
“Inspired by the words of a TIME political reporter (“the campaign seems to be in a meltdown”), I enlisted artist Edel Rodriguez to visualise it. Rodriguez created a globally recognised graphic representation of the president with two simple colours.”
Julia Louis Dreyfuss | March 11, 2019
“What I loved about this cover is it shows we can have a little fun too. It was not planned that Dreyfuss was going to remove the “T”, but once the photos came in, with her laughing, it seemed to fit perfectly in her hand and seemed like something her characters would do.”
American Reality | November 16, 2020
“The visual simplicity of a nation torn apart by the divisive nature of wearing masks is captured with this simple image during the height of the pandemic.”
How to Protect Your Privacy Online | July 2, 2001
“This was the first cover I ever designed during the early years of the world wide web. I reached out to digital artist Joe Zeff to create a computer monitor in the shape of a padlock. Zeff was a former TIME Deputy Art Director who discovered me at the Atlanta Journal-Constitution and was instrumental in hiring me at TIME.”
World & Friend | May 15, 1950
“This iconic May 15, 1950 cover of TIME was painted by artist Boris Arzybasheff, who was part of the golden age of TIME illustrated covers in the 1940s, 50 and 60s. Called the ABCs, Artzybasheff, Ernest Hamlin Baker and Boris Chaliapin, the trio produced 900 TIME covers and created a style that gave the publication character, strength and personality.
“Artzybasheff painted more than 200 covers from 1941 until his death in 1965, including “World & Friend” which served to illustrate a 4,000-word cover story on the rising influence of Coca-Cola around the world. As TIME wrote: “people almost everywhere are buying it as if it were the biggest glass of ambrosia in the world for a nickel. Actually, according to the official and modest definition of its makers, it is only “a soft drink . . . best described as “delicious and refreshing.” Its name, of course, is Coca-Cola.”
“The magazine appearance solidified Atlanta’s own Coca-Cola as a global brand and made the bottle’s design ubiquitous. In 1950, TIME magazine approached Coca-Cola CEO Robert Woodruff to ask if he would appear on the cover. Woodruff declined, insisting that the bottle itself be the star. It was the first commercial product to appear on the cover of TIME Magazine. Having lived and worked in Atlanta (the home of Coca-Cola) for nearly 20 years, it’s my favorite TIME cover and the only one I have hanging in my house.”
Where Do Ideas Come From? Creativity Inside TIME’s Cover is a keynote lecture by D.W. Pine that will delve into the creative process behind his 25 years as TIME’s Creative Director.
The event will take place at Sydney Town Hall on Thursday 29 May.
To learn more visit Vivid Sydney
The Australian Recording Industry Association (ARIA) has confirmed the return of the Adland ARIA Award in 2025, now entering its third year.
The award celebrates the creative integration of Australian music in advertising and highlights the role local artists play in elevating brand narratives.
Originally introduced in 2023 following the “Our Soundtrack Our Stories” campaign, the award honours campaigns that effectively use Australian music to create emotional impact and cultural resonance with domestic audiences.
Last year, Bolster Group and Publicis Groupe were recognised for their campaign with Cancer Council & The Australian Government, featuring JK-47’s track End The Trend. Other nominees included campaigns by Fox Sports Australia, Howatson+Company, 72andSunny, and Collider/Mirimar, with music from artists such as Budjerah, MAY-A, Thelma Plum, and The Presets.
ARIA CEO Annabelle Herd said, “If I had one piece of advice for a brand looking to make a real impact in domestic culture, it’s to think local.
“We are at a pivotal point in Australian culture right now, and Australian music is an incredibly powerful pathway for brands who need to create meaningful stories that shift Australian consumers into fans.
“We’re thrilled to bring this award back for a third year and shine a spotlight on the brands winning in culture with Australian music.”
Past winners of the Adland ARIA include 72andSunny with Campfire X for Google’s Helping You Help Others featuring Baker Boy, and Innocean Australia for the Australian Marine Conservation Society’s Voice of the Sea campaign set to music by John Williamson.
As in previous years, an expert academy comprising advertising and music sync professionals will oversee the nomination and judging process.
OMD Create has partnered with Good Food to launch Birds Eye Deli’s new premium frozen vegetable range Deli Lane – an exclusive dining experience designed to inspire Australians to master midweek meals with convenience and flavour.
The experience, hosted by celebrity chef Justine Schofield, whose new book Cook Ahead, highlights the potential of the freezer as the ultimate kitchen companion.
Schofield curated a unique menu that showcases the chef quality flavours of the new Birds Eye Deli Garlic Butter Style Green Beans and Garlic Herb Broccoli, proving that convenience and gourmet can go hand in hand.
Katie Saunders, Senior Director of Marketing at Simplot, said: “With the Birds Eye Deli range, we’re bringing paddock-to-plate quality to Australian kitchens, making it easier than ever to master midweek meals with proudly grown Australian ingredients. Justine Schofield was the perfect ambassador to showcase the ease and flavour of these premium frozen vegetables.”
MasterChef alumni and cultural tastemaker Conor Curran warmly welcomed over 60 passionate foodie-lovers to the exclusive event as the Director of Vibes. Guests were treated to a bespoke welcome cocktail before sitting down to indulge in a curated three-course menu at Canvas House.
After lunch, guests were invited on a hunt for the hidden ‘Golden Veg’ amongst haystacks, competing for a range of prizes. Designed to spotlight Birds Eye Deli’s unrivalled plate-to-paddock ethos, the activation created a memorable and highly tactile connection to the product.
Beyond the event, OMD Create designed a fully integrated media ecosystem, ensuring the Birds Eye Deli launch was unmissable. The strategy leveraged a mix of owned, earned, and paid channels, amplifying the brand’s presence across multiple touchpoints.
OMD Create broadened Curran’s role and onboarded influential culinary talent Minoli De Silva to extend the conversation online. Their content brought the Deli Lane experience into Australian homes, inspiring midweek meal mastery with Birds Eye Deli.
The campaign was further reinforced by a high-impact media buy across digital and social, strategically placed to capture consumer attention at key moments.This holistic approach ensured Birds Eye Deli was not just launched but truly embedded into the way Australians think about midweek meals.
Emma Ray, Head of OMD Create Melbourne, added: “We are so excited to partner with Good Food and Bird’s Eye Deli to celebrate that mid-week meals can be elevated and accessible. Justine, Connor and Minoli’s authenticity and energy have been the perfect pairing to launch this truly integrated campaign to Good Food readers.”
The Birds Eye Deli range is now available in supermarkets nationwide, offering a new way for Australians to elevate their everyday meals.
The video-on-demand (VoD) industry recorded a robust start to 2025, with subscriber growth supported by bundled offerings, ad-supported models, and globally appealing content, according to Kantar’s Entertainment on Demand research.
Netflix captured the highest share of new paying subscribers globally in Q1. Prime Video followed, maintaining growth in key markets such as Australia and Germany, each posting a 4% increase. Apple TV+ also built on prior momentum, growing notably in Germany (+14%) and Spain (+24%). The South Korean drama Squid Game was the most enjoyed series, with titles like Reacher, Landman, The Night Agent, and 1923 also performing strongly.
Netflix’s Q1 marked its best start to a year since before the pandemic, thanks to reduced churn, global content appeal, and innovation in areas like AI-personalised storytelling and live events. Specifically, 46% of new subscribers cited titles like Squid Game, WWE programming, and the final season of Cobra Kai as decisive purchase drivers, reinforcing content exclusivity as a key differentiator.
Squid Game Season 2 was one of the big draw cards for audiences on Netflix.
Sports-focused platform DAZN reported an 11% increase in global subscribers (its highest quarterly growth) fueled by under-34 audiences and the introduction of a personalised sports feature. Notably, football fans now represent half of DAZN’s user base. This group (among DAZN’s most loyal segments) engaged at significantly higher frequency, with weekly session rates outpacing other sports categories.
Disney+ achieved a record 47% share of new paid subscribers in France following changes to local distribution, while Apple TV+ saw notable gains in Germany (+14%) and Spain (+24%). Prime Video posted modest growth of 1%, avoiding the usual post-holiday dip, with stronger gains in Australia and Germany (both +4%).
The share of paid ad-supported streaming subscriptions rose 7% quarter-on-quarter. Value for money emerged as a key factor, with 28% of new subscribers citing it as their top reason, more than those opting for premium tiers. Meanwhile, free ad-supported platforms saw a slight decline, down 1% from Q4 2024.
Strategic integration is shaping consumer behaviour. Bundled offerings now account for 26% of the market, up from 22% in Q1 2024. Satisfaction among bundled users is high, with 41% reporting good value. These bundles are increasingly tied to broader ecosystems including gaming, retail, and financial services, which help reduce churn and deepen engagement.
Bundling offers for streaming services, like Hubbl, have become more popular year on year.
Across the board, consumers continue to demonstrate openness to ad-supported models, with 48% of VoD households willing to trade ads for lower prices. Kantar’s longitudinal panels, which sample tens of thousands of users across markets like the US, UK, France, Spain, Germany, and Australia, underpin the findings.
As platforms align with shifting audience expectations, those offering content-driven value, pricing flexibility, and integrated digital experiences are positioned for sustained growth through 2025.
The Independent Media Agencies of Australia (IMAA) has called on the Western Australian Government to ditch proposed amendments to its new Media and Creative Services Common Use Agreement (CUA), which would severely limit opportunities for local and independent media agencies, and compound already-frustrated government departments.
IMAA CEO, Sam Buchanan, said the proposed changes would limit the government’s ability to work with non-contracted media agencies, significantly impacting the independent media agency sector and the local economy.
“The IMAA is bringing its collective might to Western Australia, as we argue for a fairer outcome for both government departments and the local media agency sector,” he said.
The industry body has been working with its WA member base to directly appeal to the WA Government to repeal plans to include media strategy and planning as a compulsory part of the master media contract, and to appoint just two contracted media agencies to work across media strategy and trading.
Currently, media strategy and planning are deemed non-mandatory, allowing government departments to appoint agencies outside the CUA for planning and strategy purposes.
Buchanan said: “We are calling on the WA Government to ditch its proposed changes to the CUA, and to implement a more extensive, multi-panel approach for media strategy and trading, to ensure greater choice and equality for government departments and media agencies.
“Several departments have voiced their frustration with the current master media agency agreement, based on lack of service, expertise and value from the CUA providers. By including media strategy and planning as part of the compulsory CUA, these frustrations would only be exacerbated. These departments want more choice, not less – and this proposal fails to recognise the reality of government advertising and the need for flexibility and diversity in media agency appointment.
“By maintaining the status quo, government departments will continue to receive the support required for their media activity, while also levelling the playing field for local, independent media agencies, allowing them to pitch for non-CUA activity.
“We look forward to working with the WA Government on a solution that maximises opportunities and levels the playing field for WA-owned media agencies, keeping dollars in Australia and supporting the local economy, particularly in light of recent US-led tariff changes.”
Earlier this month, the WA Government announced proposed changes to the CUA, in an attempt to simplify the procurement process for government departments seeking advertising and media services. Under the proposal, media strategy and planning would become a compulsory part of the master media contract, with just two media agencies appointed to manage the work.
The IMAA’s recent appeal to the WA Government comes after significant lobbying last year for a bigger seat at the table for Australian-owned independent media agencies, requesting they be included on the government preferred roster list for the master media contract.
Since 2018, the WA Government has used two multinational media agencies to manage its $60 million media account. The account is now up for tender, in-line with the Federal Government’s nationwide master media account overhaul.
The IMAA’s WA campaign is part of the organisation’s overarching efforts to challenge Federal and State Government legislation around government master media account tenders.
Top image, left to right: Paula Greten, Campaign Director – Bang Digital, Andrew Newman, Media Director – Workhouse Advertising, Angela Nutton, Managing Director – Longreach Media, Josh Krueger, Managing Director – Unify, Amanda Reid, Managing Director – Mentor Marketing, Sam Buchanan, CEO – IMAA, Es Chandra, CEO, Glide Agency.
General Motors Specialty Vehicles (GMSV) has launched its new multi-platform campaign “Made for More” via MBCS.
The GMSV campaign, developed in collaboration with production house CRATER, unveils the car brand’s new flagship 2025 GMC Yukon Denali into the Australian and New Zealand markets.
‘Made for More’ captures the aspirations of its target audience while showcasing the GMC Yukon Denali’s professional-grade capability and promise to deliver more in every moment.
The campaign is spearheaded by a hero film focussed on a cinematic “day in the life” story following a modern Australian family. From coastal mornings to city evenings, the GMC Yukon Denali is framed not just as a luxury SUV but as a lifestyle enabler, balancing performance and refinement across every journey.
The hero film for GMSV launches this month across digital and social channels in both Australia and New Zealand as part of the wider GMC brand introduction.
Harry Preston, Managing Director, MBCS, said: “It’s not every day you get to launch an entirely new automotive brand in this region, and we knew we had to make it count, so we tackled ‘Made for More’ with big ambitions and a grounded creative approach.
“We set out to create something cinematic, but human – and CRATER brought that vision to life with care and craft.”
Shanan Goldring, Creative Director, MBCS, said: “We didn’t just want to showcase the GMC Yukon Denali — we wanted to show what it unlocks. This campaign was born from a simple insight: that modern families don’t want to choose between power and engineering, or comfort and capability.
“They want it all. So, we set out to tell a story that reflects that duality — cinematic in scale, yet intimately human. It’s a celebration of Australian family life, where every journey, no matter how ordinary, feels extraordinary in the right vehicle.”
Directed by Madeline King and Cameron March in partnership with CRATER, the film captures aspirational family moments with emotional clarity and sweeping visuals. Each scene was designed to reflect both scale and subtlety, presenting the GMC Yukon Denali as a natural companion to a life well lived.
“The brief allowed us to tell a story with scale, focusing on human moments experienced alongside the impressive GMC Yukon Denali,” said March.
King added: “We aimed to strike a tone that felt cinematic but relatable. The team at MBCS brought a sharp clarity to the vision from day one, and that collaboration made all the difference.”
The voiceover, performed by Will Arnett, lends a familiar GMC presence to the campaign, adding subtle authority and warmth without overpowering the visuals.
“It was a privilege to support MBCS on this milestone moment for GMC,” said Steven Farrer, Partner/EP, CRATER. “Our directors led with vision, and our crew delivered at every turn. This is the kind of work we love – grounded, ambitious, and made together.”
Credits:
General Motors ANZ
Marketing Director, GM ANZ: Heath Walker
General Manager Marketing & Communications, GM Specialty Vehicles: Jodie Lennon
Marketing Specialist – GM Specialty Vehicles: Emily Asta
Digital Marketing Manager, GM ANZ: Cameron Farrant
Product Marketing Manager, GM ANZ: Gervee Sarmiento
MBCS
Managing Director: Harry Preston
Creative Director: Shanan Goldring
Creative: Jacob Abi-Arrage
Head of Melbourne: Jack Bavin
Senior Account Manager: Kylie Searle
Account Manager: Nicholas Postlethwaite
Designer: Dylan Watt
CRATER (Production)
Directors: Madeline King & Cameron March
DOP: Miller Best
Partner/Executive Producer: Steven Farrer
Partner: Justin Solomons
Senior Producer: Jessica Ameduri
Editor: Roy Kolber
Music & Sound Design: RANRUN Studio
Voiceover: Will Arnett
As James Dowling writes in The Australian, the former radio host is facing 35 charges of sexual misconduct, charges he strongly denies.
His lawyer, Bryan Wrench, cited newly received statements from witnesses which contradict each other, requesting an eight-week delay so the DPP can decide whether to push ahead.
The Mountain View setup will plug into big-name partners like Nvidia and Databricks and sync with teams in Sydney, Melbourne, and Bangalore.
According to Jared Lynch in The Australian, it’s all part of a broader AI push with Accenture, aimed at dragging Telstra’s digital transformation into the fast lane.
As Amelia McGuire reports in The Australian Financial Review, the relatively unknown AI start-up has hit $23 million in annual recurring revenue, just a year after launching its flagship product.
Blackbird, which manages a hefty $7 billion, says the six-year-old company is growing faster than any it’s backed before, including Leonardo.ai, the image generation firm Canva eventually snapped up.
As Josh Taylor writes in The Guardian Australia, clips of awkward, glitchy AI interviews have flooded TikTok lately, sparking concern over how these systems judge candidates.
Some software struggles to understand diverse voices or body language, leading to skewed results before a human even gets involved.
Dozens of price comparison sites are chasing the tech giant for more than around $20 billion AUD in damages, claiming it unfairly pinched their customers through rigged search results.
As Karin Matussek writes in The Australian Financial Review, the lawsuits stem from a 2017 European Commission ruling that hit Google with a $4 billion AUD fine for favouring its own shopping service.
As Anastasia Santoreneos reports for Forbes Australia, with a suite of new AI-powered tools like Performance+, Pinterest is positioning itself as a serious contender in the ad space.
In Australia, where Google and Meta currently capture 70% of digital ad revenue, Pinterest is gaining traction.
As Carrie LaFrenz writes in The Australian Financial Review, while its EBIT margin sits at 11.9%, both US giants saw slightly higher margins of 14.1% and 12.4% respectively.
Despite this, Bunnings’ managing director defends the retailer, highlighting its local job creation and community impact as key contributions.
According to The Guardian, it’s the biggest hit to headcount since early 2023, when 10,000 jobs were cut amid a broader post-pandemic tech reset.
As Benjamin Lee explains in The Guardian, Benton’s accidental pivot from magazine art director to screenwriting heavyweight began with a sacking and a shot in the dark.
Teaming up with fellow Esquire alumnus David Newman, he co-wrote Bonnie and Clyde, a script that sat on the shelf for years until Warren Beatty saw its potential.