In a significant shift to WBD’s branding strategy, Warner Bros. Discovery has announced its streaming service Max will become HBO Max in just weeks.
This announcement comes six weeks after Max launched into the Australian market on March 31, 2025.
“The powerful growth we have seen in our global streaming service is built around the quality of our programming,” WBD President and CEO David Zaslav said ahead of the company’s Upfronts in New York.
“Today, we are bringing back HBO, the brand that represents the highest quality in media, to further accelerate that growth in the years ahead.”
Chairman and CEO of HBO and Max Content Casey Bloys added, “With the course we are on and strong momentum we are enjoying, we believe HBO Max far better represents our current consumer proposition.
“And it clearly states our implicit promise to deliver content that is recognized as unique and, to steal a line we always said at HBO, worth paying for.”
The initial rebranding to Max aimed to unify HBO’s prestige content with Discovery’s lifestyle programming. However, it’s understood the move faced criticism for diluting the HBO brand’s identity. It isn’t the first time HBO has rebranded.
Since its global inception, Max has undergone several strategic shifts as Warner Bros. Discovery continues to refine its streaming identity.
For Australian audiences, this rebranding will come as a big surprise.
Just six weeks ago, the company launched as Max in a multimillion-dollar campaign.
Cast from tentpole shows The White Lotus and The Last Of Us were flown to Sydney to celebrate the launch of the streaming platform which was classed as a huge success.
The launch led to the migration of HBO and Max Originals from Foxtel and Binge to the new platform.
Following news of the rebrand, Michael Brooks, General Manager for Australia and New Zealand at Warner Bros. Discovery told Mediaweek, “The rationale behind this decision is completely consistent with the campaign we have had in market.
“We believe that success in streaming will be defined by quality, not volume of content (ie. “All Killer. No Filler”), and the HBO brand has been synonymous with distinct and high-quality programming for over 50 years.
“Max is known as the home of HBO so this should be a clean shift for consumers. The global rollout will take place over the Northern Hemisphere summer.”
A social media post from Max in Australia registered surprise at the move.
A post from @streamonmaxau
Strategic considerations
Although a new logo for Max Australia has not been confirmed, the new global logo released at the Upfronts clearly positions HBO above the Max branding.
Global represenatatives from the company further explained the move in a statement noting, “This evolution has been influenced by changing consumer needs, and the fact that no consumer today is saying they want more content, but most consumers are saying they want better content.
“With other services filling the more basic needs with volume, WBD has clearly distinguished itself through its quality and distinct stories, and no brand has done that better and more consistently over 50+ years than HBO.”
The statement added: “Returning the HBO brand into HBO Max will further drive the service forward and amplify the uniqueness that subscribers can expect from the offering.
“It is also a testament to WBD’s willingness to keep boldly iterating its strategy and approach – leaning heavily on consumer data and insights – to best position itself for success.”
It might just be one of the ballsiest campaigns Australia has ever seen.
Literally.
As SBS approaches its 50th anniversary in 2025, the broadcaster is marking the milestone not with nostalgia alone, but with a gutsy new campaign that reasserts its unapologetically bold identity in a crowded media landscape.
Unveiled with the tagline ‘We Go There’, the campaign is a striking declaration of SBS’s ongoing mission: to challenge, to provoke, and to reflect the real, complex, and diverse Australia.
Created in partnership with creative agency Droga5 ANZ, part of Accenture Song, the campaign’s centrepiece is a daring 60-second film that’s so quintessentially SBS, it can’t be shown anywhere but on SBS.
Directed by Damien Shatford of The Sweetshop, the film is the tip of the spear in a larger media strategy crafted by Hearts and Science.
From bold outdoor billboards to strategic digital executions, every creative choice underscores the network’s audacious brand ethos.
Jane Palfreyman, SBS Chief Marketing and Commercial Officer, describes the campaign as both a celebration and a strategic reset.
“We’re very clear about who we are, and this campaign is very much a nod to that,” she said. “At SBS we know who we are and in our 50th year this unique campaign pays tribute to that heritage. We are a national broadcaster who is prepared to truly go there. To challenge, to inform, and to provoke with purpose.”
This clarity of identity is central to SBS’s value proposition, especially as streaming platforms multiply and homogenise. “We exist amidst a streaming market that is increasingly generic,” Palfreyman added.
“SBS offers a deep library of content with SBS On Demand, which is a unique offering. It is prepared to go where many others don’t or won’t.”
Far from being a one-off moment, this brand effort is the culmination of nearly two years of strategy work that Palfreyman says has sharpened SBS’s commercial and creative focus.
“We’ve been working on our brand strategy for about 18 months, and partnered with Droga5 on this campaign since then. They demonstrated an obvious insight and excellent understanding of who we’ve been, who we are, and where we’re going,” she said. “When they presented the creative territory, it was honestly love at first sight.”
The campaign’s high-impact outdoor billboards, described by Palfreyman as “deliberately intriguing”, are designed to spark curiosity and drive audiences to SBS On Demand.
“They are deliberately intriguing, encouraging audiences to pause, lean in, and learn more. And so we feel they will really stand out in the marketplace.”
Outdoor creative from the ‘We Go There’ campaign will be featured in some of Australia’s most prominent out of home locations
Though its public broadcaster DNA is core, SBS is also positioning itself squarely in the commercial conversation.
Palfreyman sees the network’s dual identity, as a public institution and as a dynamic commercial player, as a unique asset for advertisers.
“We’ve always been clear on who we are, regarding our charter and the role we’re here to do, which is to drive conversation, inform, educate, and provoke,” she said.
“We’re fortunate to sit at the intersection of the commercial and the public media space, and we’re proud of that position and the value we offer to audiences.”
The brand’s strategic evolution is about more than just bold content, it’s about enabling advertisers to connect with parts of the country often overlooked by mainstream media buys.
“Many brands we’re talking to celebrate and are very supportive of the fact that we are so focused on driving SBS On Demand and paying dividends. So the commercial discussion is about working with brands to ensure they’re talking to all Australians and not leaving sectors of the market untapped.”
Jane Palfreyman, SBS Chief Marketing and Commercial Officer
At its heart, this new campaign seeks to spotlight SBS’s mission to reflect modern, contemporary Australia.
“We’re a brand that truly reflects the Australia you see when you walk outside your front door,” Palfreyman said. “And I think that’s absolutely the role of SBS, to do it with heart and to do it with meaning and to provoke people to think differently and better understand the real Australia.”
She added: “Our brand strategy is very much focused on redefining entertainment. That’s about telling bold human stories that connect us all.”
With its new campaign, SBS isn’t just celebrating five decades, it’s making a clear-eyed case for why it matters now more than ever. In a world of endless content and shrinking attention spans, SBS is daring to be different. And it’s daring audiences, and advertisers, to come along for the ride.
“This campaign won’t just be a moment in time,” said Palfreyman. “You’ll see more and more from SBS from a brand perspective. It’s supported by excellent content, whether it’s our world news, fantastic audio output, or the new drama or a documentary, those two will continue to work together to drive the results for the business.”
Because when it comes to content with purpose, and storytelling with edge, SBS doesn’t just talk the talk.
It goes there.
To watch the full ‘We Go There’ M rated ad click here
In a moment that captured the shifting tides of Australian media, Cheek Media founder Hannah Ferguson took centre stage at the National Press Club, not just to reflect on her digital-first rise, but to challenge the institutions that have long dominated the conversation.
Ferguson, whose political commentary reaches a combined 275,000 followers across her personal and Cheek Media platforms, used the address to call for greater transparency around political content on social media, challenge legacy media narratives, and cement her place as a bold new voice in Australian public life.
“There’s a lot of people who were accepting money and doing authorisations on social media posts, and that did concern me greatly,” she said, in reference to influencer activity during the 2025 federal election.
“When they’re getting paid to do that, I think that needs to be very clear from the outset: at the start and at the end of the video, it needs to be in the caption.”
Hannah Ferguson
Ferguson didn’t pull punches when it came to the often-blurry intersection of money, politics and Instagram.
She was especially critical of co-authored posts between politicians and content creators, saying plainly: “For me, we shouldn’t be collaboratively posting with politicians. I think that that is an endorsement.”
While she freely admitted to being partisan, “I overtly ran a campaign against the Coalition,” she said, referencing her infamous “Good morning to everyone except Peter Dutton” T-shirts, Ferguson was adamant that she never took money from political figures, drawing a firm line between advocacy and paid influence.
“What I refuse to do is allow a microscope to be placed on me and my ring light in my bedroom while the billionaire conservative mouthpiece of the western world is allowed to run rampant with derogatory, defamatory and hateful content every day,” she declared.
“This doesn’t just go one way.”
One of Ferguson’s most pointed critiques came with her rejection of the term “influencer” altogether, a label she argued is often wielded to delegitimise young women in media.
“Influencer has been the dirtiest word of this campaign,” she said. “The agenda is clear, to undermine our intelligence, to paint us as untrustworthy, and to conflate us with green juice and a discount code.”
“There is nothing wrong with being an influencer, but the label is intended to cause significant reputational damage. The impact is deeply misogynistic.”
Ferguson positioned herself instead as a commentator, someone using new media tools to reach audiences disengaged from traditional outlets.
And the numbers back her: Cheek Media’s short-form political videos routinely rack up tens of thousands of views, making her one of the most visible progressive voices in the youth media space.
Hannah Ferguson
Capping off her address, Ferguson announced she’ll be running as an independent Senate candidate for New South Wales at the next federal election.
“Running a campaign and losing, I think, is a powerful thing to do to show other young women that they can do the same thing and that it’s not embarrassing, it’s actually a triumph that you attempted to challenge a system and an establishment,” she said.
Though she admits it’s “virtually impossible” to win without hundreds of thousands of votes, the move signals a broader ambition to move from commentary into direct political action.
Ferguson’s speech was more than just a post-election debrief, it was a statement of intent. And if her digital audience is anything to go by, the establishment might want to start paying closer attention to who’s behind the ring lights.
Melbourne-based podcasting duo Toni Lodge and Ryan Jon Dunn scooped the coveted People’s Voice Award at the 29th Annual Webby Awards in New York City, an honour that places them among global digital media elite.
Their independently-created podcast, Toni & Ryan, triumphed in the highly competitive category, winning over global audiences and, crucially, the fans who cast the votes.
The Webby Awards, often described as “the internet’s highest honour,” are hosted annually at Cipriani Wall Street in Manhattan and celebrate excellence across digital media.
Accepting the award in person, the pair delivered a cheeky five-word speech on stage: “Just start a f****** blog.”
It was more than a punchline, a nod to the show’s scrappy, DIY beginnings and a sharp contrast to the gloss of Madison Avenue.
Toni Lodge and Ryan Jon Dunn with their Webby Award
Toni and Ryan’s journey from radio redundancy to podcast success is steeped in experimentation, grit and a whole lot of humour.
Initially bonded during a summer fill-in slot at KIIS Melbourne during COVID, the pair clicked while working behind the scenes, Toni in audio production, Ryan behind the mic. They whipped up a demo for Toni to pitch around, threw it up on TikTok, and were caught off-guard by the traction.
“There were all these people being like, where’s the podcast?” Toni told Mediaweek from their New York hotel room. “And we actually talked about it. We’re like, podcasts are so much work, there are millions of them. Like, there’s no way that ours will make a difference. Like, why bother?”
But the demand was undeniable. One TikTok video turned into many, and soon their niche comedy and storytelling format had grown into a daily habit for fans affectionately dubbed “TARPers.”
“A year after we started, we left our jobs,” Ryan explained. “We’d record four episodes on Saturday, edit them on Sunday. Toni did all the audio. I did the videos.”
The show’s fast rise, and now international award, highlights how digital-first creators can build meaningful audiences and monetisable IP outside traditional media pathways.
It’s a proof point for brands betting on authenticity over polish, and one that may open the door for greater advertiser interest in independently-produced Australian content.
The pair soaked up the atmosphere at the glitzy New York ceremony, brushing shoulders with household names.
“It was super overwhelming and very American,” Toni said, laughing. “Like everybody there is, like, my publicist, my manager, my agent… so that was kind of like a culture shock, but the actual awards were run super well. It was an enjoyable evening.”
“It was actually pretty welcoming,” Ryan added. “We’re not a part of the New York creative scene, but many of them knew each other and were pretty supportive. There was a good spirit about it.”
In true Webby fashion, the room was filled with digital celebrities, influencers, and iconic names. “I fist bumped Snoop Dogg,” Ryan deadpanned. “There were almost too many big names that no one stood out, everywhere you looked, you went, oh, that’s the guy from that, or she’s the one who makes that show.”
Toni & Ryan‘s Webby win underlines the commercial viability of indie voices in an increasingly cluttered media ecosystem.
Their path shows how creators without legacy media infrastructure can still deliver engaged, global communities, valuable audiences that advertisers can reach with smart, native placements.
As podcast ad spend continues to rise, globally forecast to hit $5 billion in 2025, the appetite for established, personality-led audio platforms is growing.
Toni and Ryan’s brand is built on transparency, humour and organic growth, factors increasingly prized by advertisers wary of over-polished influencer marketing.
Moreover, their show’s proven cross-platform engagement (spanning Spotify, YouTube, TikTok and Instagram) makes it ripe for multi-channel brand integrations.
“WINNERS are GRINNERS!” Ryan posted post-ceremony. “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 without you!”
Toni Lodge and Ryan Jon Dunn after their Webby Award win
While the duo still downplay their success, even feeling underdogs against nominees like The Bald and the Beautiful and previous winners like Conan O’Brien, the industry recognition is clear.
“Immediately I thought, we’ve got no hope,” Toni said. “Their videos are f****** so good. They’re also so famous. We were like, hey, it’s a f****** honor, and we’ll just…”
And yet, here they are. Winners. TARPers behind them. And the world watching.
For Australia’s media and advertising industries, the message rings loud: the next breakout hit might just be brewing in a bedroom somewhere Down Under.
View Media Group (VMG) has announced a wave of new contracts with prominent Australian real estate agencies for its residential marketing solution, view.resi. The platform, launched in late 2024, offers a performance-driven alternative to traditional property marketing channels.
New agencies joining the platform include Highland, Marshall White, BresicWhitney, Abercromby’s, Clarke & Humel, Sotheby’s Byron Bay, Kim Jones & Co, Richardson & Wrench, and BigginScott Richmond. These additions expand VMG’s existing client base, which already includes Place, Stone, Century21, Coronis, and Woodards.
The view.resi platform combines VMG’s data-led tools with the Acquire performance marketing solution to address four key challenges cited by real estate professionals: rising marketing costs, reliance on dominant listing portals, lack of control over customer data, and effective use of AI.
Marshall White’s Group Sales Director, John Bongiorno, said the decision followed extensive market testing and marked a strategic shift for the agency. “The industry is getting smarter and we aim to stay ahead of the pack,” Bongiorno said. “The view.resi solution will help us own our customer data and deliver results for our vendors.”
Antony Catalano, Executive Chairman at VMG, said the calibre of new signings demonstrates the industry’s demand for alternatives that offer cost efficiencies and data autonomy.
“It’s clear the industry has been waiting for a solution like ours to help agents control increasing marketing costs, own their customer data and help them map their own path to independence,” Catalano said.
He criticised traditional portal business models, which often involve escalating prices and audience extension tactics that direct users back to the portal instead of agents’ own websites. VMG positions view.resi as a platform designed to empower agencies by keeping prospective buyer engagement within their digital ecosystems.
Catalano added that VMG’s growth along the eastern seaboard is a signal of broader industry momentum towards change. “We are a genuine industry partner to help our agent partners build their own database and significantly reduce the reliance on the major portals who have controlled the audience data for too long.”
Top image: Simon Jovanovic (Marshall White CEO), John Bongiorno (Marshall White Group Sales Director), Antony Catalano (View Media Group Executive Chairman).
By Ben Gunn, Chief Revenue Officer, Fabulate
WARC’s latest Global Ad Trends report makes one thing very clear: global advertising spend on professional journalism is in decline. But what it misses is a clear understanding of why this change is occurring.
The report cites keyword blocklists and brand squeamishness around hard news. Let’s be honest, those issues are nothing new and while yes that’s been a factor, the real story is far bigger and far more fundamental.
The reality is marketers and brands have been following audiences, not keywords.
Since 2019, we’ve seen platforms like TikTok, YouTube, and Instagram explode not just in usage, but in their power and influence. People are no longer relying on traditional news outlets for news, education, entertainment..
Instead, they’re turning to creators (and yes, I mean influencers), real people with real opinions, who’ve built sizable audiences through having credibility and loyalty through consistent, authentic content.
Let’s call it what it is: an audience migration. And why are marketers going there? They are simply following where the attention goes.
The truth is that the news industry is facing some fundamental challenges, while creators are growing audiences that rival or surpass major media brands and they’re doing it on platforms designed for engagement, not legacy display ads.
If you’re a marketer choosing where to place your budget, you’re not asking “what’s the CPM next to a newspaper article?” You’re asking, “where will I actually drive results?”
Trust is also an increasingly important part of the equation.
One of the most overlooked aspects of this shift is how audiences trust the creators they follow.
Now for years, publishers have traded on the importance of trust. But in a “post-truth” world increasingly filled with sensationalism, bias, and misinformation, audience trust in traditional media has eroded. Study after study has told us this.
Creators, on the other hand, earn trust daily through their vulnerability, consistency, and niche expertise. They’ve built direct relationships and the data proves it with creator-led content consistently outperforms brand ads by 30–50% in ROI.
The recent WARC report noted how in response to declining investment in news brands, media agencies are introducing ‘quality CPM’ measures.
The introduction of “quality CPM” as a metric to support news brands sounds noble. But let’s be honest, marketing is about results and while environment matters, money will follow results..
ROI will always trump sentiment. If creator content consistently delivers lower cost per acquisition and higher engagement, that’s where the money will go regardless of how well-intentioned a metric is.
One point often lost in conversations, like WARC’s news from a couple of weeks ago, is the difference between user generated content and a true creator-led strategy.
User-generated content can be powerful, authentic, relatable, and cost-effective. But it’s just one part of a broader shift brands are making toward strategic creator partnerships.
What we’re seeing across the industry is a move toward holistic creator strategies: built-for-platform content, long-term creator collaborations, data-led creative iteration, and distribution that drives real business outcomes.
To conflate that with one-off user generated content (UGC) posts is to miss the point entirely. This is about influence at scale and performance at the core.
This isn’t the end of journalism. It’s the beginning of a new era of storytelling, where individual creators are the new publishers, and where influence isn’t institutional, it’s personal.
In my job I’ve seen this shift first-hand across hundreds of campaigns. And it’s why we believe creators aren’t a side tactic, they’re increasingly central to how modern brands communicate, engage, and grow.
Clemenger Group’s boutique strategy and transformation consultancy LEVO has been named Optimizely Solution Partner of the Year for the Asia- Pacific region at the 2025 Optimizely Partner Awards.
The award celebrates LEVO’s continued success delivering high-impact, experience-led digital solutions that drive measurable outcomes for clients.
LEVO’s composable approach to digital transformation, powered by Optimizely’s experimentation, personalisation and content management tools, has enabled the agency to support significant modernisation projects across sectors including higher education, government and health care.
“This award is a testament to our team’s deep expertise, relentless drive and commitment to client success,” said Cale Maxwell, CEO of LEVO.
“We’ve invested in the right partnerships, platforms and people and this recognition reflects how we’re helping clients unlock measurable value through composable digital experiences. Optimizely is core to that approach.”
“As businesses look to modernise and scale their digital operations, we’re focused on simplifying complexity and delivering with speed, confidence and creativity. This recognition from Optimizely reinforces our position as a trusted transformation partner,” he said.
Shane Tomlinson, Partner Development Director, APJ, said: “Optimizely is excited to continue our relationship with a world-class partner like LEVO, who thoroughly deserves this recognition.”
“LEVO has proven themselves to be a valued partner, and their expertise in leveraging the Optimizely product portfolio to help growing companies deliver the best in-class end-to-end digital experiences is unmatched. We look forward to seeing what our customers continue to achieve with Optimizely and LEVO at their side.”
LEVO’s partnership with Optimizely has enabled major Australian brands to evolve their digital platforms through data-driven personalisation, experimentation and content and commerce capabilities.
Top image: Shane Tomlinson, Kevin Miller, Olivia Russell, Melanie Spence
The Daily Aus (TDA) has launched TDA Finance, a new weekly newsletter that aims to empower young Australians with the financial literacy they need to make sense of the world.
The new weekly newsletter, which arrives in inboxes May 27, will unpack the finance headlines, explain the basics, and show young Australians how every part of the economy — from interest rates to rental markets — affects their lives. Each issue will be free of jargon and presented in TDA’s signature style: clear, approachable, and accessible.
“We’ve seen time and again that young Australians are eager for financial knowledge, but they often find traditional finance content inaccessible, overly complicated and not written in their language,” said Zara Seidler, Co-Founder of The Daily Aus.
“With the Finance Newsletter, we will be taking readers on the journey of building their financial literacy from the bottom up”
As an exclusive launch partner, EatClub, an Australian platform offering dining deals and discounts at local restaurants and cafes, will sponsor The Finance Newsletter. This partnership reinforces TDA’s commitment to providing practical solutions that enhance the lives of young Australians.
“This isn’t your traditional finance product,” said Tara O’Reilly, TDA’s Head of Commercial.
“We wanted to partner with a brand that aligns with our goal of presenting finance in a fresh, approachable way. EatClub shares our vision for making everyday financial decisions easier for young people. ”
“We are big supporters of the work TDA does, making news more accessible for young people in Australia and have been an advertising partner across a range of TDA channels,” said Pan Koutlakis, EatClub CEO and Co-Founder.
“The rising cost of living is a hot topic amongst young Australians so it felt like a no-brainer when we heard about the TDA Finance Newsletter, especially with the role EatClub plays for money savvy diners. ”
Ready your smelling salts because Netflix has confirmed Bridgerton will return for a fourth season in 2026, continuing the Shondaland-produced period drama with a focus on Benedict Bridgerton, played by Luke Thompson.
The platform has also renewed the series for a fifth and sixth season.
Season four will centre on Benedict, the second Bridgerton son, whose artistic and independent nature is challenged after a chance encounter at his mother’s masquerade ball. The new season comprises eight episodes and is currently filming in London.
Jess Brownell returns as showrunner and executive producer, alongside Shonda Rhimes, Betsy Beers, Tom Verica, and Chris Van Dusen. Returning cast members include Jonathan Bailey, Simone Ashley, Nicola Coughlan, and Golda Rosheuvel, among others. Joining the cast is Australian actress Yerin Ha as Sophie Baek.
Since its debut in 2020, Bridgerton has consistently ranked among Netflix’s most popular series. Season one currently holds the #5 spot and Season three ranks #7.
The prequel series Queen Charlotte: A Bridgerton Story also achieved strong performance in the platform’s Global Top 10.
The wider Bridgerton universe has expanded beyond the screen with events such as The Queen’s Ball: A Bridgerton Experience and a growing collection of consumer products, contributing to its evolution into a global lifestyle brand.
LiSTNR has released a documentary podcast, The Moment It Changed: Touchdown, examining the inner workings of Australian TV music talent shows including Popstars, Australian Idol, and The Voice.
The series explores the tactics used to shape public perception and drive ratings, often at the expense of contestants.
Produced by Cameron Adams, Jake Morcom, and Romy Sher, and hosted by music executive and DJ Nic Kelly, the podcast features first-hand accounts from former contestants, producers and judges.
Participants include former Australian Idol judges Mark Holden and Ian “Dicko” Dickson, winners Dami Im, Casey Donovan, Karise Eden, and Katie Underwood, as well as ex-contestants Rob “Millsy” Mills and Bella Farraro.
The podcast addresses how producers influenced show narratives, including retaining poor singers for entertainment value. “…the bad singers, we were directed to keep them, that was part of the format, not a part of my career that I’m proud of,” said Stephen Tate, a former Australian Idol Executive Producer.
Host Nic Kelly, who also co-hosts The Hot Hits with Nic & Loren on the Hit Network, said: “I hope some of what we have uncovered will open people’s eyes to what goes into a musician’s choice to appear on these shows, and what could be done to make them more effective for new artists.”
Clair Weaver, Head of Factual at LiSTNR, added: “This is an important podcast from the LiSTNR Factual team and Nic Kelly brings extraordinary passion, experience and expertise as host.”
The Moment It Changed: Touchdown is available to stream for free on the LiSTNR app.
The Australian Influencer Marketing Council (AiMCO) has announced the first Good Mate mental health training event for its members, launching a new year-long partnership with digital mental health charity, ALLKND.
The inaugural session will be held on Thursday, May 22, and offers AiMCO members access to ALLKND’s peer-to-peer mental health first-aid program. The initiative is part of AiMCO’s strategic effort to support the wellbeing of its creator and marketing community, amid ongoing growth and professionalisation within the influencer marketing sector.
Led by ALLKND founder and Gen Z specialist Milly Rose Bannister, the 90-minute session is designed to build participant capacity to recognise mental health challenges and respond with appropriate support. Bannister founded ALLKND in 2020 with a focus on digital mental health education for young Australians.
“Compassion and understanding is one of the most underrated tools we have to protect our community (and our own) mental wellbeing – not just in workplaces, but online, where so many of us show up every day as community leaders,” Bannister said. “Through this partnership with AiMCO, we’re equipping creators and marketers with the skills and language to talk about it, spot the signs, confidently take action, and be a good mate.”
AiMCO Managing Director Patrick Whitnall said the initiative reflects a wider commitment to embed mental health training within professional networks. “ALLKND’s goal is to get at least one young person in every Australian workplace, sporting team, household and group chat certified as a ‘good mate.’ We’re supporting that mission with our partnership,” he said.
The May 22 event marks the first in a planned series of training sessions to be delivered through the collaboration over the next 12 months.
Netflix has confirmed a fourth season of its global documentary series Love on the Spectrum, continuing its collaboration with Australian production company Northern Pictures.
The renewal follows the success of the third season, released in April 2025, which secured a spot in Netflix’s Global Top 10 for two consecutive weeks. This season saw five of the seven couples formed through the show remaining together, marking a milestone in the series’ outcomes.
The Emmy Award-winning series, originally launched in Australia, has expanded into a global format now in its sixth season overall. It documents the dating journeys of individuals on the autism spectrum, offering insights into neurodiverse relationships with sensitivity and authenticity.
Executive Producer and Co-Creator Karina Holden, also Head of Factual at Northern Pictures, said: “We’re thrilled to be making a new season of Love on the Spectrum for Netflix and the global audience. It’s a joy to continue this journey, welcoming back some familiar faces and introducing audiences to more wonderful people.”
Director, Showrunner and Co-Creator Cian O’Clery added: “Each season is a chance to broaden understanding of the diversity within the autism spectrum. We have seen firsthand how being part of the show has enriched lives: forging friendships, building confidence, opening new opportunities, and connecting with viewers from all walks of life.”
Northern Pictures was recently named Production Business of the Year at the 2025 Screen Producers Australia Awards and was recognised by Realscreen as a Trailblazer in its Global 100 list for its work on Love on the Spectrum.
Foxtel Group and Sky Racing have entered a new multi-year broadcast agreement that extends their partnership and brings several new benefits to Australian subscribers.
Under the renewed deal, Foxtel Residential customers will now receive high-definition (HD) broadcasts of all three Sky Racing channels (Sky Racing 1, Sky Racing 2, and Sky Thoroughbred Central) for the first time.
The agreement also expands Sky Racing’s reach to Foxtel Business customers (excluding licensed venues), enabling streaming of all three channels across a range of commercial environments including gyms, retail shops, hospitals, and aged care facilities.
Sky Racing broadcasts over 150,000 races annually, reaching audiences in Australia and over 60 countries globally. Each channel has a defined focus: Sky Racing 1 offers domestic racing across all codes, Sky Racing 2 centres on international events, and Sky Thoroughbred Central delivers premium NSW and Queensland thoroughbred coverage.
Nic Goard, Foxtel Group Head of Sport and Content Partnerships, said the upgraded experience enhances value for both residential and commercial customers. “We are thrilled that our Foxtel Residential customers can not only enjoy uninterrupted coverage of the best thoroughbred, harness and greyhound races in Australia and across the world, but they can now do so in crisp high definition,” Goard said.
Selina Rumble, Head of Racing and Sports Media Partnerships at Sky Racing, noted the deal’s role in advancing broadcast quality and distribution. “Together we’re bringing live racing coverage into thousands of homes across Australia, complementing our direct distribution of Sky Racing into circa 4000 retail venues,” she said.
The renewed partnership continues a collaboration spanning more than two decades and highlights both companies’ commitment to evolving how racing content is delivered to a broad audience.
Skillsoft has appointed Raianne Reiss as Chief Marketing Officer, where she will oversee global marketing efforts and report directly to Chief Executive Officer and Executive Chair, Ron Hovsepian.
The appointment is part of Skillsoft’s continued transformation strategy to position itself as a leading talent development platform. Reiss will be tasked with driving demand and elevating brand awareness among enterprise clients and learners.
Reiss brings over two decades of experience in technology marketing. She most recently held the role of Executive Vice President and Chief Marketing Officer at Yext, where she was responsible for brand strategy, product marketing, demand generation, and business development. Prior to that, she served as Vice President of Marketing at Elastic and held senior marketing roles at Amazon Web Services and Juniper Networks.
“Raianne’s passion for powerful storytelling and driving transformation, combined with her deep knowledge of the technology space, will help accelerate our go-to-market motion,” said Hovsepian. “Her track record of fostering high-performing marketing organisations and operating with a unique customer-centric approach make her a fantastic addition to our leadership team.”
Reiss said she is joining the company at a “pivotal time” and aims to contribute to Skillsoft’s efforts in delivering “impactful learning experiences” that enable businesses to grow and build essential skills.
Skillsoft serves over 95 million learners globally and is used by more than 60% of the Fortune 1000.
As Michaela Whitbourn reports in The Sydney Morning Herald, the former SAS corporal, who was found by the Federal Court to be complicit in the murder of four unarmed prisoners in Afghanistan, has argued the judge got it wrong.
The court’s decision will be handed down Friday morning, closing a high-stakes chapter in media law and military accountability.
The move comes as Optus and TPG double down on their $1.6 billion network-sharing pact, part of a wider campaign to challenge what they’ve dubbed Telstra’s “bush tax”.
But as Jared Lynch writes in The Australian, Telstra’s standing firm, saying it’s not just about price, it’s about reach.
As Calum Jaspan reports in The Sydney Morning Herald, Paramount-owned 10 has quietly acquired all the regional TV licences previously held by WIN and Southern Cross Austereo, licences that currently beam Sky News into almost seven million homes.
But the contracts expire at the end of June, and 10 hasn’t yet confirmed if it’ll renew or replace Sky’s slot with its own content, like Nickelodeon.
The initiative allows drivers to generate personalised playlists consisting of songs within the 60–80 beats per minute (BPM) range, which research suggests can support calmer and more focused driving.
The campaign is underpinned by Allianz research indicating that one in three (32%) Australian drivers believe music affects their driving.
The report cites keyword blocklists and brand squeamishness around hard news. Let’s be honest, those issues are nothing new and while yes that’s been a factor, the real story is far bigger and far more fundamental.
As Ben Gunn writes in this op-ed for Mediaweek, the reality is marketers and brands have been following audiences, not keywords.
As Daanyal Saeed reports in Crikey, posting more than 100 times and lobbing insults at journalists including Sophie Welsh and Marnie Vinall.
Horowitz’s most inflammatory comments have been aimed at Jewish AFL digital producer Sophie Welsh, whom he labelled a “pretend Jew sellout” after she spoke out against Israel’s actions in Gaza.
Unveiled with the tagline ‘We Go There’, the campaign is a striking declaration of SBS’s ongoing mission: to challenge, to provoke, and to reflect the real, complex, and diverse Australia.
Created in partnership with creative agency Droga5 ANZ, part of Accenture Song, the campaign’s centrepiece is a daring 60-second film that’s so quintessentially SBS, it can’t be shown anywhere but on SBS.
The tech giant hasn’t confirmed whether its push into AI tools like Copilot is playing a role in the downsizing, it’s certainly raising eyebrows.
According to Paul Smith in The Australian Financial Review, the axe is expected to fall largely on middle management, though roles at all levels may be affected.
Toni & Ryan, beat out heavy hitters to win in a fiercely competitive podcast category, voted in by fans around the world.
In an interview with Mediaweek just hours after their win, the pair revealed just how their side-hustle propelled them to the world stage.