In 2025, I’m A Celebrity is making it’s way back to the African Jungle for another season of creepy crawlies and gross-out challenges.
Ahead of the new season, Mediaweek caught up with hosts Robert Irwin and Julia Morris to get an insight into what viewers can expect from the new season and how the show has evolved over the years.
“Over the years, it’s become more and more appointment TV for families,” Morris said.
“There’s so few shows where multiple generations can sit down together and have a laugh, and certainly, as a parent of teenagers, I am constantly trying to find things that we can actually sit down together and enjoy.
“This is the one time where I can actually get all the kids and the grandparents and everyone to sit down and watch it and laugh.”
Irwin’s role as a conservationist he says gives his place on the show a unique perspective because his whole life has been about wildlife conservation, and the show already had such a priority for wildlife before he even joined.
“My whole life has been about wildlife conservation and trying to spread that message to as many people as possible in a really universal way that doesn’t feel like you’re getting lectured on the taxonomy of a species of animal, it feels like you’re accidentally learning something,” he said.
“At the end of the day, that’s what I’m A Celebrity does so well, it’s about having fun, it’s about having a laugh and it’s about the entertainment.”
Irwin also expressed the many challenges of what it’s like filming on location in the depths of the African Jungle.
“We have to factor in extra time getting to set because of unpredictable wildlife like hippos crossing the road or baboons in the middle of the crosswalk.
“The production delays and challenging elements are due to the fact that we are truly in the middle of the jungle. That’s the authenticity of the show. Our safety briefings are very different from typical productions – it’s about being cautious of the hippos, crocodiles, and cobras around us, not so much the proper way to use a ladder.”
Irwin and Morris tease that the new season will up the ante in the challenges and tease that the new season is all about ‘leveling up.’
While the cast of celebrities set to hit the jungle hasn’t been revealed yet, Morris says she has heard that “there are more than just a couple of scratch record moment with contestants.”
Last year, Skye Wheatley won the 10th season of Channel 10‘s I’m A Celebrity… Get Me Out Of Here!, beating out fellow top three contestants Callum Hole and Tristan MacManus.
I’m A Celebrity… Get Me Out of Here! premieres on 10 and 10 Play on Sunday, 19 January.
Anthony Albanese has warned tech billionaire Elon Musk not to interfere with the upcoming Australian federal elections.
“We have foreign interference laws in this country, and Australian elections are a matter for Australians,” Albanese told Nine Newspapers, as reported 9News.
“I have no intention of being a … commentator on what people overseas want to engage in.
“People will make their own judgments and have their own views about that,” he added.
The Federal Election is expected to be no later than 17 May, according to the ABC.
This comes after Musk has flexed his power and influence in politics, using his influence to help return Donald Trump into US office.
More recently, in the social media space reports suggested the tech mogul might be eyeing TikTok’s US operations, with Chinese officials allegedly considering selling the platform to Musk as a way to avoid an outright ban in the US.
TikTok, of course, has dismissed the claims as baseless, calling them “pure fiction”, but the prospect of Musk entering the mix has already set tongues wagging.
Meanwhile, on X, Elon Musk’s comments quickly dominated the platform’s trending topics.
Among his inflammatory comments posted include: “Exactly. Climate change risk is real, just much slower than alarmists claim. The immense loss of homes in LA is primarily due to: 1. Nonsensical overregulation that prevented creating fire breaks and doing brush clearing. 2. Bad governance at the state and local level that resulted in a shortage of water.”
Musk also posted: “DEI means people DIE” in response to another comment that shared the same sentiment.
Musk’s blame for Democratic governance and diversity policies for the disaster eclipsed scientific discussions about climate change, creating a polarised public debate.
The Pacific Palisades fires, which have destroyed 10,000 structures and displaced 150,000 residents, underscore the high stakes of crisis communication in the digital age. Public agencies still rely on X for real-time updates, but the platform’s shifting dynamics have created challenges for disseminating trustworthy information.
See also:
Elon Musk and the TikTok buyout: A potential game-changer for social media
Elon Musk’s wildfire comments expose social media’s role in crisis communication
–
Top image: Anthony Albanese
WPP has ruffled the feathers of its employees by enforcing its new office policy of being back in the office four days a week.
In an internal memo to the company’s staff, CEO Mark Read addressed the focus on the work culture of WPP.
“I believe that we do our best work when we are together in person. It’s easier to learn from each other, it’s a better way to mentor colleagues starting out in the industry, and it helps us win pitches as a truly integrated team,” he said.
WPP’s Mark Read
While the new policy will come into effect until April, WPP employees have hit back against the global directive with a Change.org petition.
The staffers called the company’s mandate a “step backwards in supporting employee wellbeing and work-life balance” and called out the advertising company for “citing anecdotal data that either does not exist or has been misrepresented.”
But as the two sides continue to oppose each other over returning to the office, a number of holding companies will not be following WPP’s lead.
James Wright and Virginia Hyland
James Wright, Group CEO at HAVAS Creative Network ANZ, Global CEO at HAVAS Red and Global Chair HAVAS PR Network, and Virginia Hyland, CEO Havas Media Network ANZ, told Mediaweek they would not follow suit on the four-day week mandate.
“At HAVAS ANZ we are not mandating four days in the office. Across the Group, we are in three days a week, but many people also come in on a 4th day work dependent.
“For now, this approach is working well for us but we regularly review our current hybrid policy to balance the benefits of in-person collaboration with the flexibility demanded by the modern workforce,” they added.
Arthur Sadoun
Publicis Groupe has already experienced its own version of the contentious return-to-office debate in 2023 when CEO Arthur Sadoun announced that all employees are required to come into the office three days a week, with Mondays mandatory and no consecutive remote working days.
“But, almost three years later, we have to admit that a disproportionate part of remote working is actually leading to siloed work, less collaboration, sometimes stunted creativity, fewer innovation and decreasing productivity,” he said in the video, as reported by PR Week.
“I sincerely believe that we are at our best when we are together. We can support, inspire and care for each other. And while it’s not impossible to do all of these things from our screens, I think we should admit that it is actually harder. It is now time for all of us to find the right balance between the benefits of working from home that we want to keep and being in the office, as together we are definitely stronger,” Sadoun added.
John Wren
Omnicom Media Group also required its employees to return to the office three days a week. In 2023, Ad Age reported that all its U.S. employees were expected return to the office at least three days per week.
Chief executive officer John Wren said: “The great resignation is over. You see it in the layoffs that the tech industry’s doing and some other areas. So we believe that we’ll be just fine. Naturally, there’ll be individual cases where people won’t want to come back and they’ll seek other alternatives, but in the scheme of things it is not going to be significant.”
“We’re trying every sensible thing to look out for the benefit and the welfare of our employees, and it’s time for them to come back because we’re a creative services company and we work better when we’re together.”
See also:
WPP enforces global return to office policy: Staff required on-site 4 days a week
WPP staff fight back: 10,000 sign petition against mandatory office return
WPP addresses staff backlash over office return policy
Nine has appointed Amanda Laing as managing director of the streaming and broadcast division, bringing together Stan, 9Now, Broadcast Television, and Radio, as the group accelerates its strategic transformation with an operating model reset and a new executive team.
Laing brings with her a strong background in television, streaming, digital, print and video-on-demand as well as expertise in commercial strategies and partnerships, business transformation, sports and entertainment content and rights, and mergers and acquisitions.
Most recently, she was chief commercial and content officer at Foxtel Group and managing director at Binge.
The network’s refreshed operating model will more effectively leverage the Group’s portfolio of premium media assets, simplify business operations, reduce duplication, and provide greater accountability.
The updated operating model will help deliver the Group’s Integrated Audience Platform strategy while strengthening Nine’s operational and financial performance. It will underpin Nine’s plan to reduce its cost base by a further $50 million in FY25 and enhance profitability through greater utilisation of the business’s premium assets.
As part of Nine’s strategic transformation program, the business will be streamlined into three consumer-focused divisions: Streaming and Broadcast, Publishing and Marketplaces.
The three divisions will be supported by Group functions working across the business, reducing duplication and introducing consistent, company-wide processes, which are critical for Nine’s ongoing cultural transformation.
Following the restructure, Stan CEO Martin Kugeler and Nine CMO Liana Dubois have been made redundant from their roles. Dubois will leave the company on January 17.
Tory Maguire
The current Publishing division, led by managing director Tory Maguire, will be expanded to include nine.com.au alongside Nine’s publishing assets, including The Sydney Morning Herald, The Age, and The Australian Financial Review.
Meanwhile, the creation of a Marketplaces division provides more targeted oversight of Domain and Drive and ensures Nine is capitalising on value creation opportunities from Streaming & Broadcast and Publishing and across the Group.
Alex Parsons will oversee Marketplaces in addition to his chief digital officer role. There is no change to the current business structure or governance of Domain, an ASX-listed business.
Alex Parsons
Nine has also appointed James Boyce as director of Regulatory, Public Affairs and Communications to enhance the Group’s focus on the regulatory environment. Boyce is an experienced regulatory, government and communications leader, with a deep understanding of industry policy, national affairs and the media landscape.
He joins Nine from Paramount (Australia and New Zealand), where he was head of government and regulatory affairs.
James Boyce
In line with the new operating model, Nine will transition to a more streamlined eight-member Executive Team reporting to Acting Chief Executive Officer Matt Stanton.
“Our operating model reset will help accelerate the strategic transformation underway at Nine by improving how the different parts of the business work together,” Stanton said.
“Our new approach will better position the business to manage the challenging external environment and ensure the company is future-fit to sustainably deliver for our consumers, partners, shareholders and people.
“Aligned with the greater accountability that flows from resetting the operating model, I’m pleased to unveil a new and focused Executive Team to lead Nine through its next phase of growth,” he added.
“The appointment of Amanda, one of the top media executives in the country, will add extraordinary industry expertise and energy to Nine’s experienced Executive Team in 2025 while James will sharpen the Group’s focus on the evolving regulatory landscape.”
Matt Stanton
Jessica Hunter, Head of The Brag Media, has left the company.
Hunter, who was appointed to the role in June 2024, was formerly General Manager of Partnerships at the company where she was tasked with ensuring the business continued to deliver outstanding results for client partners.
She came to The Brag Media from the Woolworths Group’s media business, Cartology.
The Brag Media is owned by Vinyl Group, owners of Mediaweek, who have recently announced a rapid expansion with numerous high-profile acquisitions in recent months.
This week, the company announced they had entered into a partnership with Refinery29 to revamp the women’s lifestyle platform.
Vinyl have also bought music company Serenade, Mediaweek, events company Funkified and digital city guide Concrete Playground.
Vinyl also own iconic music title Rolling Stone Australia, who on 15 January announced nominations are open for their fifth Rolling Stone Australia Awards, due to take place in Sydney later this year.
Ayesha, known for her breakout role as Amerie and her growing presence in the indie-pop scene, brings her signature “main character energy” to the mic.
Ayesha Madon
Joining her is Nedd, a national hero celebrated for his awe-inspiring feats, including running across Australia and raising over $7 million for homelessness charity partner We Are Mobilise.
Nedd Brockmann
The duo will join triple j’s roster of presenters to bring the hype and good vibes to the iconic summer event. With voting set to close on Monday, 20 January at 5pm AEDT, it’s still anyone’s race.
Some fun facts: two songs are tied for the top five, less than ten votes separate #10 and #11, and a handful of local artists are on the brink of making the cut.
Head to triple j’s website or app to cast your vote.
The Australian Association of National Advertisers (AANA) has appointed Stacey Knox, a seasoned marketer with experience at Coca-Cola, Subaru, and News Corp, as its new member engagement and events director.
Knox’s focus will be on enhancing member engagement and delivering increased value to the AANA community.
AANA CEO Josh Faulks said of her appointment: “We are thrilled to welcome Stacey to the AANA team. Her deep marketing expertise and track record of driving strategic growth will play a pivotal role in strengthening member connections and broadening our industry influence.”
“Joining the AANA team is an incredible opportunity to support the growth of this essential community. I’m eager to forge strong member relationships, encourage collaboration, and lead initiatives that shape a trusted and sustainable marketing industry,’ Knox added about her appointment.
Knox brings extensive leadership experience, having held senior marketing and media roles at iconic brands such as Coca-Cola, News Corp, and Inchcape. More recently, she provided consultancy services across Australia and New Zealand, specialising in partnerships, events, commercial efficiencies, and organisational transformation.
The Out of Home (OOH) industry in Australia has reported an impressive 8.07% growth in net media revenue for 2024, reaching $1,301.8 million, up from an adjusted $1,204.6 million in 2023*, according to the Outdoor Media Association.
The industry recorded $393.8 million in net media revenue for Q4 2024, a 6.6% year-on-year increase from $369.5 million in Q4 2023*.
Val Morgan Outdoor – VMO
Digital Out of Home (DOOH) revenue now accounts for 75.2% of total net media revenue, up from 73.4% in 2023*. This shift highlights the continued adoption of advanced digital solutions, which enable advertisers to target audiences with greater precision and flexibility.
Reflecting on the results, Outdoor Media Association (OMA) CEO Elizabeth McIntyre emphasised OOH’s unique ability to adapt and thrive amid economic and industry challenges.
“As we reflect on 2024 and look forward to 2025, Out of Home continues to prove its resilience and strength. With its unique combination of ubiquity, trust, and digital innovation, OOH has cemented itself as the medium of choice for advertisers seeking both immediate impact and long-term brand equity,” she said.
She noted OOH’s unmatched “powerful, non-intrusive presence,” which has made it a trusted partner for media buyers navigating shifting priorities and economic pressures.
oOh!media.
Looking ahead, McIntyre pointed to the introduction of MOVE2, the new audience measurement system set to provide advertisers with greater precision in capturing seasonal and regional trends.
“MOVE2 will enable advertisers to fine-tune their strategies for maximum effectiveness. Coupled with ongoing advancements in DOOH, this adaptability is driving innovation and growth across the industry,” McIntyre stated.
Despite potential challenges in 2025, including an election year and rising cost-of-living pressures, the sector is positioned for continued success. McIntyre highlighted the commitment of OMA members to delivering advanced tools and insights that empower advertisers to thrive in diverse market conditions.
“Innovation and adaptability remain at the core of OOH’s success. Whether the market is flat or improving, the industry’s ability to evolve ensures it continues to deliver value for advertisers and maintain its position as a critical component of the media mix,” concluded McIntyre.
*Revenue figures for previous periods have been adjusted to reflect updates in OMA membership.
Drumstick is embracing its part of Australiana culture with a new brand platform produced by long-term agency partner, SICKDOGWOLFMAN.
The campaign is led by a launch film and a range of 20+ situational, contextual, and location-based out-of-home executions, as well as social and digital executions.
“There aren’t many out there that can genuinely lay claim to being a ‘classic’ brand. Or be confident enough to have a one-word positioning line. Classic. But Drumstick is one of them,” Jess Wheeler, creative director at SICKDOGWOLFMAN, said.
“When I think Australian summer – I think beach, I think cricket, I think tennis, I think scorching hot concrete, I think running through the sprinkler, I think Drumstick. And we felt it would be remiss of us to not entirely lean into this. We’re really excited to lay the groundwork with the Peters team for what will hopefully be a classically enduring platform.”
Drumstick’s new campaign.
‘Saucy’ out-of-home executions will feature to launch the new product
A series of bespoke ‘Saucy’ out-of-home executions will also feature to launch the new product, including custom-built variations.
“We are thrilled to introduce Drumstick’s ‘Classic’ campaign, which truly reflects the timeless appeal of our iconic brand,” Carla Loucas, marketing manager, Drumstick, said.
“Our partnership with SICKDOGWOLFMAN has been instrumental in shaping this exciting new brand platform, bringing together the rich heritage of Drumstick with the pulse of today’s culture.
“This campaign is all about celebrating those everyday ‘classic’ moments that Australians can relate to, highlighting the enduring connection we have with our consumers. We’re confident that ‘Classic’ will resonate deeply with both loyal fans and new audiences, reinforcing Drumstick as a beloved Australian icon for years to come.”
The campaign features 20+ situational, contextual, and location-based out-of-home executions.
Drumstick unveils the OOH executions.
Client: Peters Ice Cream
Head of Marketing: Andrea Hamori
Marketing Manager: Carla Loucas
Brand Manager: Michael Dib
Creative Lead: Damian Kelly
Agency: SICKDOGWOLFMAN
Business Director: Jarrick Lay
Creative Director: James Orr
Creative Director: Jess Wheeler
Design Director: Jake Turnbull
Designers: Blaine Gillian, Frankie Hopkins
Account Director: Victoria Concha
Account Manager: Tish Wiseman
Agency Producer: Nick Livingston
Production: The Producers
Director: Mitch Kennedy
Executive Producer: Tanya Spencer
Producer: Krystal Tomczak
Post Production: Manimal
Offline Editor: Denzil Heeger
Colourist: Trish Cahill
Online/VFX: Ryan Brett
Post Producer: Hannah Byrnand
Sound Production: Production Alley
Sound Design: Rodney Lowe
Media: Spark Foundry
Publicis Groupe is merging two networks, Leo Burnett and Publicis Worldwide, into “one constellation” to become Leo.
Under the new name and redesigned logo, Leo combines the global creative force of 8,000 creative minds from Leo Burnett and 7,000 from PWW, with eight agencies of the year across 90 countries and over 400 major creative awards.
In the Australian market, the changes will not impact the holding company’s structure and operations except for the change of Leo Burnett’s brand name to Leo. Publicis Worldwide will keep its brand name.
In a video announcing the news, Arthur Sadoun, CEO of Publicis Groupe, said: “We are doubling down on our strategy of strong creative brands connected to the only data, media and tech ecosystems in the industry.”
He described Leo as “a new modern creative constellation of awarded talents that brings together the human vision of the Leo Burnett Network and the innovation of Publicis Worldwide.
“Leo is HI meets AI – human insights and ideas amplified by the data and technology to do more faster, everywhere. Leo brings together the creative power of the most recognisable name in advertising with the roar of a Lion.
“Leo Burnett and Publicis Worldwide with 15,000 creative minds in 90 countries under a single leadership.”
New Leo logo
Globally, Leo will be led by the team that made Publicis Conseil the Cannes Lions 2024 Agency of the Year, Marco Venturelli and Agathe Bousquet, who will act as co-presidents, and chief strategy officer Gareth Goodall.
Together, they are responsible for Leo’s global creative community and culture, that will be activated at the country level through the Power of One, ensuring the constellation’s creative thinkers and makers have direct access to the Groupe’s data, tech and media assets. Andrew Bruce, CEO Publicis Groupe Canada, will also take on the additional role of chairman, Leo North America.
The Leo constellation joins Publicis Groupe’s creative roster, alongside Saatchi & Saatchi, LePub and BBH, and creative hot shops like Fallon and The Community, as well as Le Truc, the only creative collective operating at holding company level.
Carla Serrano, Global CSO Publicis Groupe, said: “Through Leo we are doubling down on our strategy of strong creative brands, connected to the industry’s only data, media and tech ecosystem. With Publicis as the global group brand we all rally to, we are now accelerating on the Power of One, turning two networks into one constellation.”
“At Publicis, we have demonstrated time and again the power of the Power of One. Leo’s global spirit will live and breathe at the local level, with outstanding creative and strategic talent turbocharged by best-in-class data and technology through our country model, to create truly bespoke models for its clients.” added Agathe Bousquet, co-President of Leo and President of Publicis France.
Carla Serrano, Marco Venturelli, Agathe Bousquet, Gareth Goodall
Marco Venturelli, co-President and chief creative officer of Leo, said: “We’ve never had so many tools to better understand people and connect with them. Nevertheless creativity still is, and forever will be a messy human process. Leo will be a true global community of creative and strategic talents, connected together for a more human way of creating at scale.
Sadoun added: “I have had the privilege of leading both Publicis Worldwide and Leo Burnett. Since then, other iconic names have disappeared, but I have never believed that creative efficiency should mean fewer brands and fewer operations.
“It is about big ideas from creative minds that are nurtured by strong agency culture, to have an impact on our clients’ business. In today’s world it is also about more collaboration and more access to capabilities. That’s exactly what Leo stands for. By unifying the spirit and talent of these global creative communities, Leo will be bigger, stronger and on more doors than ever.”
–
Top image: Arthur Sadoun
Wesfarmers Health has partnered with Houston Group to launch beauty and wellness brand atomica, which has opened its first pilot concept store in Sydney.
The strategic and design agency helped develop the name, strategic positioning, customer value proposition (CVP) and brand language. The development of a central strategic idea – ‘Let’s glow Australia’ – lead directly into the CVP: We are for ALL of you.
The deliberate play on words indicates the inclusivity of the retail proposition being for all Australians and also for people individually – with atomica celebrating both inner-and-outer beauty. Making sure every customer feels seen and supported to be their best and brightest self is vital to both the brand strategy and in-store experience.
The strategic elements are brought to life through atomica’s bold and creative brand identity, which has been created to represent freedom and energy. Inspired by the human atom and the fluidity of beauty, the design emphasises inclusivity – which is reflected in the authentic logotype and the ‘a.’ symbol. The brand’s colour palette features hues of maroon and orange, with soft pinks and blues. Coupled with the shape systems, the overall design creates a vibrant and unexpected look.
“We saw an opportunity for an affordable and accessible beauty-focused retail offer that delivers an inspirational in-store experience, featuring coveted international brands and locally-loved Australian brands,” Corrina Brazel, Wesfarmers Health’s head of marketing, said.
“The store features Glow Advisors and the curation of brands includes Bubble Skincare, INNISFREE, The Ordinary, Milani, e.l.f, wellness brands and the hundreds of others that help our customers glow from the inside out,” concluded Corrina.
Alex Toohey, executive creative director, Houston Group, said: “atomica celebrates the uniqueness of each person, while embracing the shared humanity that makes us all beautiful, it is an embodiment of the dynamic energy and limitless potential of every individual.”
atomica branding will be applied across multiple physical and digital channels, for a cohesive experience that stretches from social media through to the store environment itself.
The first pilot store opened in Sydney’s Castle Towers in late 2023, where a former Priceline store was located. This conversion to atomica is the first step in planned expansion to other parts of Australia in 2025.
Credits
Client: Atomica, Wesfarmers Health
Corrina Brazel – Head of Retail Marketing
Sophie Harris – Senior Manager- Brand
Brooke Thomas – Marketing Manager, Campaigns
Agency: Houston Group
Stuart O’Brien – Founder
Alex Toohey – Executive Creative Director
Daye Moffitt – Executive Strategy Director
Michael Thebridge – Head of Copy
Michelle Teh – Design Director
Hamish McRae – Designer
Kyle De Raedt – Group Account Director
Tori Fraser – Account Manager
ANZ has launched ‘Falcon Lens’, an AI-powered experience that generates unique, personal falcons for Australians, coinciding with the Australian Open (AO).
Created by Special and developed by T&DA, the innovation educates consumers about ANZ’s personalised fraud protection while generating an image of a personalised falcon. ANZ customers are invited to take a selfie to see what their personal falcon looks like.
The lens extends the bank’s Security campaign, which launched last April and showed ‘lookalike’ falcons that help spot the difference between ANZ customers and fraud.
“We’re excited to bring ANZ Falcon to life in such an innovative and interactive way,” Sian Chadwick, general manager marketing, Australia, ANZ said.
“Launching ANZ Falcon Lens during Australia’s largest sporting event offered the perfect opportunity to expose this campaign to a broad audience. By combining technology with creativity, Australians can create their own unique falcon in real-time, while reinforcing ANZ’s leading security credentials in a relevant and tangible way.”
Falcon Lens is part of the broader ANZ Security campaign aligned with the banking institution’s sponsorship of the AO. Leveraging the widespread exposure from this major event, ANZ has partnered with Channel Nine to enhance on-air and online visibility of the ANZ Security campaign and includes contextual messaging to resonate with tennis fans.
“ANZ Falcon Lens brings the consumer into the campaign, dramatising the power of the Falcon and putting a smile on the user’s face in the process,” Ryan Fitzgerald, ECD of Special, said.
“AI was the perfect tool to put the Falcon in your hands, or on your shoulder,” he added.
Falcon Lens works by integrating AI visual recognition and image generation capabilities, allowing people to create truly personalised falcons.
Tyrone Estephan, executive producer T&DA, said: “By analysing user-submitted photos with GPT-4o and crafting fine-tuned prompts, we generate personalised, hyper-realistic falcons using DALL·E 3. ANZ Falcon Lens showcases the evolution of cutting-edge generative AI combined with intuitive design.”
Falcon Lens will be showcased during the AO with a real-time OOH innovation developed by oOh! and POLY. Digital panels have been integrated with the ANZ Falcon Lens experience around the tennis. By scanning a QR code on selected oOh!media digital panels, users can create a personalised falcon and choose to share it to the OOH screen.
The feature is supported by OOH media, as well as placements on Meta, TikTok and UberLive.
Users of Falcons Lens can also enter their personal falcon into a draw to win AO Finals tickets, with the competition running until 11.59pm on Sunday 19 January.
Australians are tuning in to stay informed, with the ABC’s News Top Stories podcast claiming the title of the most-listened-to podcast for December 2024.
According to the Australian Podcast Ranker, the show pulled in 691,318 listeners for the month, edging out rivals thanks to its consistent flow of over 400 episodes.
Hamish and Andy’s podcast took a dip in December, with their pair on hiatus.
The jump to #1 comes as Casefile and Hamish & Andy, usually chart-toppers, took a holiday break.
With fewer fresh episodes from those heavyweights, listeners turned to the ABC for their daily dose of news.
Meanwhile, Hamish & Andy slid to fifth place, overtaken by Mamamia Out Loud and Shameless. December’s ranker proves that when big names pause, news doesn’t miss a beat.
Read more:
Hamish Macdonald’s new radio role
WPP addresses staff backlash over return to office policy
Elon Musk and TikTok buy-out
Seven has locked in the exclusive, live, and free broadcast rights to the LIV Golf League, bringing the world’s first global team golf league back to Australian screens for 2025 and beyond.
Fans can catch all the action live on Seven and 7plus, starting with LIV Golf Riyadh (6-8 February) and LIV Golf Adelaide (14-16 February) at The Grange Golf Club.
LIV Golf Adelaide 2024 shattered records, with over 2.7 million viewers tuning in as Ripper GC triumphed in a thrilling team playoff against Stinger GC.
Seven’s director of sport, Chris Jones, said: “LIV Golf has redefined the game, bringing fans closer to the action and showcasing the sport’s biggest stars like never before,” he said.
As LIV Golf enters its third season, fans can expect a star-studded roster, including major champions Jon Rahm, Brooks Koepka, and Cameron Smith, alongside Australian icons Marc Leishman and Matt Jones.
For the full 2025 schedule head here.
Pictured: Cameron Smith
M&C Saatchi Group has welcomed seven individuals for paid internships across the agency’s Sydney and Melbourne offices, who join after participating in the 2024 Open House recruitment programme.
The Open House programme, now in its third year, attracted an impressive 1,276 registrants for its series of free, live webinars – the highest reach to date.
This eight-week modular training programme, designed to be accessible to all, offered participants invaluable insights into disciplines such as creativity, strategy, design, CX, media, data, and innovation, with guidance from industry leaders across M&C Saatchi Group.
“In a time when fostering diverse and equitable talent pipelines has never been more critical, we are proud to see the Open House programme flourishing,” Jen Hegarty, director of people and culture at M&C Saatchi Group, said.
“The overwhelming response and extraordinary calibre of applicants reinforce our commitment to opening doors and driving meaningful change within our industry.”
The quality of this year’s applications reached unprecedented levels, resulting in 18 candidates being shortlisted for final interviews. Ultimately, seven outstanding participants secured coveted internship positions, joining teams in early 2025 to launch their careers in the creative industry.
Meet the Sydney interns:
• Julien Ortiz: A design intern at Re (M&C Saatchi Consulting), Julien graduated from the University of Technology Sydney in 2023 with a Bachelor of Design in Visual Communication (Honours). Julien is passionate about “all things creative and striking.”
• Jess Saunders: A recent graduate with a Bachelor of Design in Visual Communications from the University of Technology Sydney, Jess is eager to “combine my design background with my passion for brand strategy and storytelling.”
• Chloe Hinchliff: A new creative intern at M&C Saatchi Sport & Entertainment, Chloe said: “I love the idea of one day becoming a Creative Director, as it’s the perfect blend of strategic thinking and creativity. Over the next six weeks, I’m excited to learn from the talented people around me and soak up their expertise.”
• Anton Johansen: A recent AWARD School graduate and creative intern. Anton previously worked in warehousing and is excited to “reach for the top shelf” in creativity and copywriting. His passions include indie music, TV (Mad Men!), and studying languages.
• Caroline Presbury: With a Bachelor of Fine Arts and a background as a creative director and photographer in the fashion and luxury sectors, Caroline has also pursued law studies while working on commercial branding and advertising projects. She describes her love of “art meeting commerce” and is also an artist specialising in clay sculpture, drawing, and painting.
Meet the Melbourne interns:
• Shannon Kruss: A writer and Melbourne native, Shannon explained: “I take silliness very seriously. I got into advertising because I love coming up with innovative ideas and also because I want to convince my mum that all those years spent in front of the TV were warranted.”
• Priscilla Cooper: A recent graduate from RMIT with a Professional Communications degree, Priscilla describes herself as “a creative by trade who plays with words like a kid with crayons.” After a stint putting on musicals at a summer camp in America, she’s ready to make a splash as a creative intern.
The interns come as the agency repositions itself with a new focus under its global “Cultural Power” proposition, ushering in a new era of building famous and meaningful brands by creating and curating cultural power.
–
Top image: Sydney interns – left, Melbourne interns – right
Matty Johnson – better known as Matty J – has been unveiled as the first celebrity to join this year’s much-anticipated roster.
Matty J first won hearts in 2017 on The Bachelor, where he found true love with Laura Byrne. Now, six years, two kids, and a three-legged dog later, Matty’s trading romantic drama for jungle chaos in South Africa.
Reflecting on his latest adventure, Matty said: “When I’m old, I want my grandkids begging for stories of how I survived the African jungle by fighting wild baboons and eating boar anus.”
Matty J is heading into the ‘I’m a Celebrity’ jungle for 2025.
Since his Bachelor days, Matty has built a career in TV, racked up laughs as co-host of the Two Doting Dads podcast with Ash Wicks, and even snagged Instagram’s Best Creator title at the AiMCO Awards. Now, he’s about to face the ultimate challenge: surviving whatever Robert Irwin and Julia Morris have in store.
Curious who’ll join Matty in the Jungle? Stay tuned – big names are on the horizon!
Pictured: Robert Irwin and Julia Morris
Crusader Caravans has launched a new TV advertising campaign showcasing the manufacturer’s 2025 range, created by Chocolate Studios.
The 15- and 30-second ads hero Crusader’s striking XCountry Mad Max model, an impressive off-road model that blends luxury with cutting-edge features, empowering extraordinary experiences.
The ads’ visuals cleverly contrast the featured caravan’s sleek design, luxurious living spaces and superior on-road and off-road performance, setting a new benchmark in premium caravanning.
Crusader’s ad campaign maintains the momentum of the brand’s recent launch of five new product ranges (comprising 30 model variations), winning the prestigious Caravan Industry Victoria Award for Excellence in Caravan and RV Manufacturing for 2024, and its entry into competitive American RV market.
The ad also features the Ford Everest Platinum, perfectly complementing the Crusader Caravans range throughout the campaign.
Crusader Caravans founder and CEO Serge Valentino said the new TV advertisements highlight the company’s dedication to delivering the ultimate caravanning experience for those who demand the very best.
“We couldn’t be happier with how Chocolate Studios has brought our core values to life on the small screen – the imagery is stunning and really captures Crusader’s commitment to being best-in-class for innovation, construction materials, build quality and value,” he said.
“While the Crusader brand is often the choice of experienced caravanners well versed on the differences among the various brands, we are hopeful the ads will deliver a boost to the awareness of the brand among those new to caravanning. Crusader has never embarked on any National TV ad campaign this big, so this is a real testament to the solid growth of the business,” Valentino added.
Chocolate Studios founder and managing director Dave Ellis said it was a privilege to be entrusted with producing Crusader’s very first major national TV campaign and a pleasure to partner with the proudly Aussie brand.
“The thing that has struck us from the start of our working relationship with the Crusader team is their genuine passion, pride and care factor for what they do – as well as an unmatched attention for detail – and we wanted this to shine through in the ads,” Ellis said.
“The ads capture the essence of adventure with the best companion: a Crusader Caravan; and the high-end living, dining and sleeping areas that are worthy of a Home Beautiful spread!” Popularity of road tripping has hit an all-time high in Australia. According to Tourism Research Australia, a record 859,000 caravans and camper vans are registered across the country. For the year ending 2023, Aussies took 15.3 million caravan and camper trips.”
The ads will be run on free-to-air TV via the Nine Network as well as YouTube and Facebook.
CAMPAIGN CREDITS:
Client: Crusader Caravans
Creative and production: Chocolate Studios
Director: Sean Dove
Producer: Isabelle Tomas
DOP: Oliver Manton
Marketing: Ana Maria Osorio and Allison Caruk
As reported by Daanyal Saeed in Crikey, Karp is leaving the Canberra bureau to return to Sydney where he will work as the NSW political correspondent for The Australian Financial Review.
His move follows other recent exits, including foreign affairs and defence correspondent Daniel Hurst, political reporter Amy Remeikis, and veteran parliamentary photographer Mike Bowers. The shake-up comes after Karen Middleton, formerly of The Saturday Paper, stepped in as political editor earlier this year.
Yesterday, Mediaweek reported Elon Musk was even considering buying the platform, with Chinese officials allegedly considering selling the platform to Musk as a way to avoid an outright ban in the US.
As reported by Tom Gerken and Liv McMahon in the BBC Even if the Supreme Court sides with Congress and lower courts, calling TikTok a national security risk, the question remains: will Americans find ways around the ban? And could incoming President Donald Trump, who has voiced opposition to the law, intervene despite legal roadblocks?
Gibson, who rose to fame claiming an all-natural lifestyle cured her (nonexistent) cancer, is brought to life by Booksmart and No One Will Save You star Kaitlyn Dever.
Filmed in Melbourne, the series dives into the shocking story behind Gibson’s social media empire and its eventual collapse, which was uncovered by The Sydney Morning Herald.
As reported by David Swan in The Sydney Morning Herald, the initiative will see the telco streamline its 18 existing data and AI providers down to just two while developing bespoke AI tools.
The move follows a surge of interest in AI investments, with Macquarie recently announcing plans to pour up to $8 billion into data centres through a partnership with US-based Applied Digital.