Thursday May 14, 2026
Federal Court rules Coles misled shoppers with Down Down discounts
Coles Group misled shoppers through its Down Down pricing program, the Federal Court has found, in a ruling that upholds allegations brought by the Australian Competition and Consumer Commission.
Federal Court Justice Michael O’Bryan delivered the judgment in Melbourne on Thursday, finding Coles advertised discounts based on higher prices that had only been in place for short periods.
The ACCC alleged Coles temporarily increased prices on products before promoting reduced prices under its Down Down campaign, despite the promoted prices sometimes being higher than prices charged weeks earlier.
Coles argued the price increases reflected supplier-driven inflationary pressures and that the discounts were genuine.
A separate case against Woolworths Group is still before the court.
Court finds discounts misleading
Justice O’Bryan said Coles increased prices in a “commercially justifiable manner” and accepted evidence that suppliers had sought price rises.
“Coles increased the prices in a commercially justifiable manner,” O’Bryan said in a summary of his judgment.
He also found the products were sold in commercially normal volumes.
However, the court found the higher prices were not maintained for long enough before the discounts were advertised.
O’Bryan said products would generally need to remain at the higher price for 12 weeks before consumers could reasonably regard a later discount as genuine. In most cases examined by the court, products remained at the higher price for around four weeks.
The court found Coles engaged in misleading or deceptive conduct.
The ACCC launched proceedings against Coles and Woolworths in late 2024 amid broader scrutiny of supermarket pricing and cost-of-living pressures.
oOh!media cuts 82 roles - finds $12m in savings
oOh!media has reported a 9% reduction in headcount, cutting 82 roles and identifying $12 million in annualised cost savings.
In a trading update ahead of its AGM, the outdoor media company reported March quarter revenue up 4% overall and 7% in Australia, slightly ahead of February projections. The June quarter is pacing similarly.
oOh!media said its first-half gross margin would be softer than anticipated, driven by industry-wide pressure on billboards.
oOh!media Managing Director and CEO James Taylor said the company was focused on strengthening its market position as out-of-home continues to grow.
“The Out of Home sector continues to benefit from strong structural growth, and we are executing our strategy to cement oOh!’s market leadership,” Taylor said.
“The launch of MOVE is a growth catalyst, clearly demonstrating the superior quality and unmatched scale of our network to advertisers.”
Taylor sharpens efficiency push
Taylor said the company had also identified further savings since February.
“Since February, we have identified $12 million in annualised FY26 run rate pre-tax cash savings and an array of related operational benefits.
“This unlocks further value for our customers and shareholders.
“While we note some advertiser uncertainty given the broader macro environment, we are pleased with our overall outlook and look forward to updating shareholders at this morning’s AGM,” Taylor added.
Taylor said he is confident further efficiencies will be identified.
Five months into the CEO role, Taylor said he is more convinced than ever about the quality of the oOh!media business and the size of the opportunity ahead.
Takeover interest builds
As previously reported by Mediaweek, the update comes as oOh!media has rejected two takeover proposals from private equity bidders, saying the offers do not reflect the outdoor media company’s intrinsic value or in simple words, too low to even consider.
The company confirmed it had received a non-binding indicative proposal from I Squared Capital at $1.45 per share, following an earlier $1.40 per share offer from Pacific Equity Partners.
oOh!media has rejected both offers, but has invited talks or updated offers.
Mediaweek has reached out to oOh!media’s investor relations team for further comments.
Top Image: James Taylor
'Probably': Karl Stefanovic drops another not-so-subtle ARN hint
Well, this might just be the longest striptease in Australian media history.
Karl Stefanovic has once again hinted at a possible move into radio while (bet you know what’s coming) stopping short (surprise) of confirming ongoing speculation linking him to ARN Media.
Speaking candidly during an on-stage interview at Cairns Crocodiles with Maz Farrelly, the Today host said podcasting and long-form content had become a major priority outside of his commitments to Nine Network.
“I probably will do radio, and I will more than likely just dip my toe in the water to see if I like it before I even think about going to do breakfast radio,” Stefanovic told the crowd.
“I want exposure, I want to see what radio is like. I will continue doing TV, and this show (his podcast) right now is my biggest priority outside of my commitments for Channel Nine because I just think there’s so much room for growth.”
The Karl Stefanovic Show
We’ve seen this show before
Just last week, former Deputy Prime Minister Barnaby Joyce openly questioned Stefanovic about the speculation during an appearance on The Karl Stefanovic Podcast.
Joyce asked the television host whether he was “going to grow a set and tell us you’re going to leave Channel Nine?”
Stefanovic sidestepped the question, replying: “I’m not an elected official. I’m a paid-up employee, and I love it.”
After the conversation briefly shifted to Joyce’s own political future, the former Nationals leader again returned to the topic, asking: “What’s happening with Channel Nine?”
Stefanovic again declined to engage directly with the rumours, saying he was “gainfully employed” and “very happy there”.
Joyce responded: “oh, you bullsh*t artist”.
ARN rumours continue to swirl
Speculation about Stefanovic’s future first emerged earlier this year in a report by The Australian’s Steve Jackson, which claimed the presenter had signed a memorandum of understanding with ARN Media following a meeting with CEO Michael Stephenson.
According to the report, Stefanovic was expected to move once his current television contract expires in December.
Industry sources previously told Mediaweek that the speculation aligned with earlier internal discussions about Stefanovic potentially joining ARN, although details of any prospective role remain unclear.
When approached by Mediaweek at the time, Nine denied the reports.
Main image: Karl Stefanovic
Meghan Markle's As Ever ad backfires when necklace price discovered
The Duchess of Sussex, better known as Meghan Markle, doesn’t make it easy on herself.
She’s been slammed online for the latest ad for her As Ever brand, in which she wears a $62 000 diamond necklace, Page Six reports.
As she lounges at ‘home’ drinking a cup of tea. And spruiking humble things like jam.
It’s about as unrelatable as it comes, especially as most of the world suffers a cost of living crisis, and probably the reason why the comments on the post have been turned off.
The caption of the post on her As Ever Instagram account reads:
“What began with fruit from Meghan’s garden, simmered into preserves in her home kitchen, has inspired our curated collections to bring surprise and delight to your everyday.”
Because you’d need more “surprise and delight” if you were idling at home in some major bling.
To top it off, along with the Logan Hollowell diamond necklace, in the clip Markle sports Birks diamond earrings ($6900) and her usual Cartier Love bracelet ($7950).
Elsewhere in the footage, it’s been reported that the Duchess wears a custom Oscar De La Renta dress with Ulla Johnson pearl earrings and a diamond ring from British jewellery designer Pippa Small.
View this post on Instagram
Meghan Markle’s $62K diamond necklace
Markle is well-known for her penchant for designer goods, but social media has called out the pairing of a wholesome ad for jam with out-of-reach attire.
The criticism comes as The Sussexes have been scrutinised for their luxury lifestyle whilst, as some have said, “crying poor.”
Recent reports say the couple requires at least $6 million every year just to cover operating expenses. It is alleged that half of that goes toward private security for the family.
“Get a real job like the rest of us,” one commenter wrote on X in response to the As Ever clip.
Someone from another country suggested, “Shop at Target and quit with the $35,000 diamond necklace.”
“She could start an Only Royals account,” one joked.
Finally there was this comment that got straight to the point: “She could sell her jewelry.”
Markle launched her brand in April 2025 after displaying many of her lifestyle products on her Netflix show With Love, Meghan the previous month.
Season 2 of the series debuted in August 2025, followed by a holiday special, but Netflix confirmed it won’t do a third season.
“Meghan’s passion for elevating everyday moments in beautiful yet simple ways inspired the creation of the As Ever brand, and we are glad to have played a role in bringing that vision to life,” a statement from Netflix said in March.
“As it was always intended, Meghan will continue growing the brand and take it into its next chapter independently, and we look forward to celebrating how she continues to bring joy to households around the world.”
Top image: Meghan Markle, the Duchess of Sussex, wears a $62K necklace in As Ever ad. Image: Instagram
Melissa Leong breaks silence after SBS pulls Taste of Art
Melissa Leong has spoken publicly after SBS pulled Taste of Art New Zealand from its schedule following allegations of misconduct involving her co-host, chef Vaughan Mabee.
The series had been due to premiere on SBS Food before the broadcaster confirmed it would not air the acquired New Zealand program “at this time”.
In a statement shared to Instagram, Leong said she had signed on to host the show last year because it celebrated “the highest potential in cuisine artistry” and the “tradition, culture and kai that Aotearoa is renowned for the world over”.
“And so it is with great disappointment that the show’s resounding success has been hampered by such unfortunate circumstances these past weeks,” Leong wrote.
“That disappointment is shared by the rest of the cast, crew, production and partners, all of whom put such love, energy and trust into making a hit.”
The statement posted to Leong’s Instagram page.
‘We need to listen when women speak up’
Leong also addressed the wider situation, saying her own experience as a victim-survivor meant she felt compelled to speak.
“As a victim-survivor, it would feel like a betrayal to me if I did not say something about the situation at hand, and it’s this:
“We need to listen when women speak up, because it isn’t without fear, trepidation and personal cost when we do so.”
Leong said she would not comment further while the matter was still unfolding.
“I trust you will all act with consideration and respect for each other,” she wrote.
She ended the post by writing: “Much kindness to you all, and I look forward to seeing you onscreen before too long.”
SBS pulls acquired series after allegations
SBS said the decision followed allegations of misconduct concerning Mabee, who has issued a formal public apology.
“SBS will not broadcast the acquired series Taste of Art New Zealand at this time,” the broadcaster said in a statement.
“This decision follows allegations of misconduct concerning the program’s co-host, Vaughan Mabee. Mr Mabee has issued a formal public apology in response to these allegations.”
Vaughan Mabee & Melissa Leong
Mabee, the former executive chef at Amisfield Restaurant in Queenstown, was the subject of allegations concerning workplace conduct.
Amisfield owner John Darby has previously confirmed Mabee was removed from the workplace while an independent investigation was conducted, before the restaurant accepted his resignation.
In his public apology, Mabee said: “I let my team, myself and my family down.”
“I unreservedly apologise to former colleagues for my inappropriate behaviour to them or any inconsiderate comments made.”
Taste of Art New Zealand is a seven-part cooking competition featuring 10 chefs working in teams of two. The contestants create dishes designed to work as both meals and edible works of art, with Leong and Mabee serving as judges.
The series aired on TVNZ1 earlier this year.
Main image: Melissa Leong
ABC pivots to video podcasts in youth audience push
The ABC is making a deliberate play for younger audiences, and according to the broadcaster’s Head of Audio on Demand, Jessica Radburn, that meant rethinking not just who its podcasts are for, but what podcasting at the ABC could look like altogether.
“When I came into the ABC just over a year ago, it was really clear that the broadcaster had a solid base of fantastic podcasts that did what people expect from the ABC,” Radburn told Mediaweek.
“Those are things like keeping them up to date on the news and explaining world issues. But it felt to me like there was a real opportunity to create content that connected with younger audiences, particularly Australians, who the ABC might not be perceived as appealing to, and people who don’t know that the ABC exists.”
Jessica Radburn
Riding on a new wave
That thinking now sits at the centre of the ABC’s New Wave initiative – a strategy designed to back emerging Australian comedy creators, experiment with video-first podcast formats, and expand the broadcaster’s reach across YouTube, social platforms and streaming services.
The latest title to launch under the initiative is Another Cuppa? with Granny Bingo, a video podcast fronted by drag comedy duo Edith Vale and Maureen McGillicuddy. Premiering from today across ABC iview, YouTube, ABC listen, and major podcast platforms, the series follows the earlier release of The Grill, a Gen Z-led comedy podcast featuring three Melbourne friends.
For Radburn, the discovery of The Grill marked a turning point in the New Wave search.
“It’s been developed with wonderful hosts, as well as a really incredible comedy outfit in Melbourne, who’ve helped us with the video podcast and production,” she said.
“It’s a real seismic shift for the ABC in terms of podcasting.”
Radburn said the chemistry between hosts Ben, Izzy and Taz became immediately apparent during development.
“I think that is a really difficult thing to nail when you’re looking for podcast hosts, because you can often have hosts that have chemistry between them, but the audience feels shut out, and it doesn’t feel accessible.
“It’s that charisma and energy, which is near impossible to build unless you’ve got seasoned professionals.
“To find that in a group of friends was just the thing that we thought was special, and we could really help them get an audience for their show.”
Together, the projects signal a notable evolution in the ABC’s audio strategy – one increasingly focused on creator-led formats, fandom communities and the growing shift from listening to watching.
Bringing podcast culture into the ABC
For Radburn, part of the shift involved bringing elements of broader podcast culture into the national broadcaster’s ecosystem.
“It was about bringing some of what I think makes podcasting special into the mix – things like the parasocial relationships,” she said.
“It’s about bringing people into these new worlds, reflecting communities, and celebrating fandoms. That’s really the shift we’re trying to make here, with great Australian talent.”
The ABC’s move comes as podcasting platforms increasingly compete for younger audiences whose habits are being shaped as much by YouTube and TikTok as traditional audio apps.
“Everyone in podcasting is looking at how to better engage younger audiences. And we’re seeing a huge shift from listening to watching. It’s a really dynamic space,” Radburn said.
“From the ABC’s perspective, I think what was exciting was the real recognition within the organisation that we needed to make a change and invest in shows. That’s half the battle, right?
“And equally open to the fact that we can’t do this alone.”
From radio-first to podcast-first
While many of the ABC’s biggest podcast successes originated on broadcast radio, Radburn said the New Wave strategy marks a broader transition toward commissioning projects designed as podcasts first – and, increasingly, video podcasts first.
“So many of the ABC’s great podcasts originated on the radio and remain incredible in their own right,” she said.
“I think, particularly for these younger audiences and this sort of lighter entertaining space, we’re commissioning for podcasts first and increasingly looking at video podcasts. We’re trying to be as accessible as we can as possible.”
Another Cuppa? with Granny Bingo
The ABC’s public broadcaster balancing act
Despite the commercial realities shaping podcasting globally, Radburn said the ABC still sees talent development and cultural representation as core parts of its remit.
“Throughout all of this, we’re always asking What’s our role as a public broadcaster?” she said.
“I believe it’s to nourish a lot of that upcoming talent. It’s to potentially engage with topics that other commercial networks wouldn’t necessarily consider a mainstream offering.
“The fun challenge for us is to make it as appealing to as many people as possible. And that’s what we’ve tried to bring: a mix of definitely leaning into what the ABC does at its best, while also bringing in mass appeal and having more on offer for more Australians.”
Main image: The Grill. Source: ABC
Elon Musk wanted OpenAI to go to his kids, Sam Altman tells jury
Elon Musk tried to take control of OpenAI, even suggesting it could pass to his children when he dies, Sam Altman has alleged in court, the BBC reports.
The co-founder and CEO of OpenAI is being sued by Musk, who accuses him of having “looted a charity” – as OpenAI began as a non-profit. The case is being heard in front of a federal jury in Oakland, California.
On Wednesday, Altman said Musk backed the idea of OpenAI becoming a for-profit business now and in the future.
He said in court: “A particularly hair-raising moment was when my cofounders asked, ‘If you have control, what happens when you die?’ He said something like ‘…maybe it should pass to my children.’”
OpenAI CEO Sam Altman. Image: X
Elon Musk vs Sam Altman
Altman said Musk suggested OpenAI become a subsidiary of Tesla, the billionaire’s electric vehicle company. The goal was getting “more money faster”, Altman said on Tuesday.
“If I make one tweet about this, it’s instantly worth a ton,” Altman recalled Musk saying.
“I was extremely uncomfortable with it,” the BBC reports Altman added.
“One of the reasons we started OpenAI was because we didn’t think any one person should be in control of AGI.”
Musk left OpenAI in early 2018 and ceased his quarterly donations of $5 million.
Top image: Elon Musk and Shivon Zilis with their twins Strider and Azure ; Elon Musk with son X.
Credit : Shivon Zilis/ X ; Elon Musk/ X
TikTok launches subscription for no ads in the UK
TikTok is introducing a subscription charge for UK users who want an ad-free experience.
From next week, the platform will begin offering users aged 18+ in the UK the subscription for a fee of about $12AUD a month.
The move by the social media giant comes after it began testing ad-free monthly subscriptions in different markets in 2023.
@bbcnews Would you pay for ad-free TikTok? #TikTok #Subscription #SocialMedia #News #BBCNews ♬ original sound – BBC News
TikTok to offer ad-free subscription in UK
Kris Boger, TikTok’s UK managing director, said:
“Advertising on our platform is already helping thousands of British businesses reach new customers, increase sales and create jobs, while our new ad-free option gives people greater control over their experience.
“Together, this ensures we continue to deliver real economic impact while giving our community the flexibility to engage with TikTok in the way that suits them.”
Users who subscribe will still see content by creators who have been paid by third parties to post.
As more platforms such as Instagram have begun to offer similar options, the move has been criticised.
“We’re moving away from an internet where the deal was you use the app for free but see ads, to one where the deal is increasingly: use the app for free and be profiled for personalised ads, or pay to escape them,” social media expert Matt Navarra told the BBC.
He predicted that uptake of TikTok’s offering would be limited, with many unlikely to pay for no ads, and expressed concern that the “practise of paying for more privacy online is becoming normalised.”
Navarra added, “We are heading towards a two-tiered social internet.
“One version for people who can afford more control and privacy, and another version for everybody else.”
SBS appoints Jane Palfreyman as Managing Director
The SBS Board has appointed Jane Palfreyman as Managing Director for a five-year term, effective 12 May 2026.
Palfreyman has served as Acting Managing Director since 28 August 2025, following a rigorous and competitive search process.
She brings more than 25 years of media experience, including 14 years at SBS.
Before joining the top job, Palfreyman held senior strategic and marketing leadership roles at Nova Entertainment, Global Radio in London and Southern Cross Austereo.
She is also a Non-Executive Director of NSW Rugby Union and a member of the Chief Executive Women Network.
A long-running SBS leader
Palfreyman has held senior executive roles across commercial strategy, marketing, organisational transformation and audience engagement.
As Chief Marketing & Commercial Officer from September 2023 to August 2025, she played a key role in strengthening SBS’s commercial performance and deepening audience engagement.
Her work has been tied to SBS’s Charter and its role in reflecting and connecting contemporary Australia.
SBS Board backs Palfreyman
SBS Chair Dr Nicholas Pappas AM said Palfreyman’s appointment reflects the Board’s confidence in her leadership and understanding of the organisation.
“Ms Palfreyman is an experienced and principled leader who is deeply committed to SBS’s purpose and the role we play in fostering inclusion and community cohesion at a time when this has never been more important.
“Jane brings a genuine belief in the role of trusted public media, combined with strong commercial acumen, and a clear understanding of what makes SBS distinctive.
“She has consistently demonstrated how disciplined leadership and a focused strategy deliver impact and long-term sustainability.”
Pappas said SBS must continue to innovate while staying true to its Charter.
“Amid significant change across the media sector, SBS must continue to innovate while staying true to our Charter.
“The Board has great confidence that Jane will continue to lead SBS with clarity and purpose – driving commercial growth, delivering engaging content in over 60 languages, and ensuring the organisation remains trusted and relevant to all Australians.
“We are delighted Jane will lead SBS into its next chapter,” Pappas concluded.
Palfreyman on the appointment
Palfreyman said she was honoured to lead SBS at an important moment in its history.
“It’s a privilege to be appointed Managing Director of SBS, and I’m grateful for the Board’s confidence.
“I care deeply about SBS, its purpose and the role it plays in Australia’s pluralistic society, particularly at a time when our community is navigating growing pressures and the media environment is increasingly complex.”
She said her focus will be on long-term growth, digital acceleration and audience connection.
“SBS exists to help Australians better understand one another and the world around them.
“As the needs of audiences continue to change, my focus is on strengthening the organisation for the long term, accelerating our digital growth and deepening our connection with all Australians, including multilingual and First Nations communities.
“I look forward to working with our teams, partners and communities to ensure SBS remains a bold, trusted and inclusive broadcaster for contemporary Australia.”
Following Palfreyman’s appointment, SBS will begin recruitment for the Director of Media Sales/Chief Commercial Officer and the Director of Marketing & Audiences.
Both roles will be open to internal and external applicants.
Top image: Jane Palfreyman
Netflix goes toe-to-toe with TV giants in aggressive ad pitch
Netflix says its ad-supported subscription tier now reaches more than 250 million monthly active viewers globally, as the streamer continues its push for a larger share of advertising budgets.
As per Variety, the figure, shared during Netflix’s upfront presentation to advertisers on Wednesday, is up from the 190 million monthly active viewers the company cited in November 2025.
Netflix revealed that more than 80% of its members actively watch every week.
A bigger ad pitch
Amy Reinhard, Netflix’s President of Advertising, stated that the company is moving from proving its durability in the ad market to establishing itself as a bigger competitor.
“If the last couple of years were about proving we’re a durable player, this year is about establishing ourselves as a formidable one,” Reinhard said.
Netflix pointed to the success of titles including Wednesday, The Night Agent, Happy Gilmore 2 and Stranger Things as part of its pitch to advertisers.
The streamer is also leaning on a metric it calls monthly active viewers. Netflix defines the figure as the number of members who have watched at least one minute of ads on Netflix per month, multiplied by the estimated average number of people per household.
The figure is based on Netflix’s own research, rather than third-party measurement.
A 31% jump since November
The 250 million figure represents a 31% increase from the 190 million figure Netflix cited in November.
In previous years, Netflix used account profiles, or users, rather than the estimated number of people in a subscriber household. The shift comes as Netflix looks to compete more aggressively with media companies that have longer histories in advertising sales.
While Netflix has built a strong reputation for premium content, it has less experience than traditional media companies in selling ad inventory at scale.
Chasing live moments
Netflix has been collecting its lineup of live specials and sports, as advertisers continue to value programming that brings audiences together in real time.
But, much of Netflix’s core offering remains scripted drama, comedy and movies, which viewers often stream on their own schedules. That has created a challenge for Netflix, which competes with Disney, NBCUniversal, and other media companies that sell large volumes of live sports.
Media buyers have noted that advertisers are interested in Netflix’s progress, but the company has likely had more success with sponsorships around individual titles than selling large volumes of ad inventory.
One recent example is Netflix’s deal with State Farm, in which the insurer’s “Jake from State Farm” character appears in the sports series Running Point.
More countries, more inventory
Netflix said it will continue expanding its ad offering.
The expanded ad tier will roll out to 15 new countries starting in 2027, including Austria, Belgium, Colombia, Denmark, Indonesia, Ireland, the Netherlands, New Zealand, Norway, Peru, the Philippines, Poland, Sweden, Switzerland, and Thailand.
Netflix also plans to unlock a new commercial inventory in podcasts and alongside vertical video globally in 2027.
The company will also expand opportunities for advertisers to sponsor Tudum, its fan site.
BBC News lands on Binge and Foxtel
BBC News will be available on Foxtel and launch on Binge for the first time from 14 May.
The channel joins Foxtel Group’s 24/7 live news lineup, adding to its local and international news offering across Binge, Foxtel, Foxtel Now and Foxtel Go.
BBC News delivers breaking news, analysis and real-time coverage of global events, and joins a lineup that includes Sky News Australia, Sky News UK, Sky News Extra, Sky News Weather, CNN International, Al Jazeera English, Bloomberg News, CNBC, Fox Sports News, NHK World Japan, NBC News NOW, GB News and MS NOW.
The launch builds on the more than 25,000 hours of news content added to Binge over the past six months.
Foxtel Group said the addition strengthens Binge’s position as a one-stop streaming destination for live news, lifestyle, sport and entertainment.
Foxtel Group on the BBC partnership
Stephanie Quinn, Executive Director, Content and Commercial Partnerships at Foxtel Group, said BBC News is a trusted brand for Australian audiences.
“BBC News is one of the world’s most respected news brands, and one Australian audience knows and trusts.
“Its availability on FOXTEL and BINGE reflects the strength of our more than 20-year partnership with the BBC, and our commitment to delivering the very best line-up of live, 24/7 local and international news channels to our subscribers.”
BBC Studios on the launch
Robi Stanton, President of APAC Media & Streaming at BBC Studios, said the expanded agreement gives more Australians access to BBC News.
“This expanded agreement with the Foxtel Group brings BBC News to even more Australians, ensuring greater access to our trusted, independent global journalism.
“We’re delighted to be launching BBC News on BINGE for the first time, extending the reach of our world-class news coverage across multiple platforms.”
BBC News will sit alongside BBC UKTV, the home of British entertainment, on Foxtel and Binge.
Main image: BBC News
Rugby Australia taps Komo for fan engagement and loyalty platform
Rugby Australia has appointed Komo as its official fan and member engagement platform, embedding the Australian-built technology across its national rugby ecosystem.
The partnership supports Rugby Australia’s From Green To Gold strategy as the sport heads into a major decade, with Australia set to host the Men’s Rugby World Cup in 2027, the Women’s Rugby World Cup in 2029 and the Brisbane Olympics in 2032.
The appointment will see Komo support fan engagement across the Wallabies, Wallaroos, Sevens, NSW Waratahs, ACT Brumbies and Super Rugby Pacific.
Through Komo, Rugby Australia teams will be able to launch branded fan hubs, live in-stadium activations, gamified campaigns, loyalty programs and sponsor activations.
The platform will also capture first- and zero-party fan data to feed Rugby Australia’s CRM, inform personalised experiences, and deliver measurable outcomes for commercial partners.
Komo on ‘Green To Gold’ decade
Joel Steel, CEO and Co-founder of Komo, said Rugby Australia is entering a defining period for the sport.
“Rugby Australia is entering the most significant period the sport has ever seen in this country, and the ‘From Green To Gold’ strategy reflects an incredible ambition,” Steel said.
“But the organisations that will truly capitalise on this decade aren’t just the ones that show up for the big moments – they’re the ones building direct, meaningful relationships with fans in between.
“That means knowing who your fans are, what they care about, and how to keep them connected to the game long after the final whistle.”
Steel said Komo is built to turn fan interactions into long-term engagement.
“That’s what Komo is built for: turning every touchpoint – in the stadium, on broadcast, through websites and social media, across the varying seasons – into a data point that deepens the relationship and compounds over time.
“We’re proud to be the platform powering that mission not just for Rugby Australia, but for Australian rugby.”
Rugby Australia on fan growth
Dan Wilkins, General Manager, Fan Growth at Rugby Australia, said the partnership is about giving fans more reasons to engage across the year.
“Our job is to make Rugby feel more present, more rewarding and easier to be part of across the year.
“This partnership helps us create better match-day moments, competitions and interactive experiences, while building the data capability to understand what fans actually value and give them more of it.”
Komo will integrate with Rugby Australia’s existing technology stack from the 2026 season.
Top image: Rugby Australia