The battle lines are drawn, and the stage is set for one of the most anticipated seasons of Australian Survivor. The showdown between Brains and Brawn is back, promising an explosive tenth season that will test the limits of intellect and strength.

Set against the stunning backdrop of Samoa, Australian Survivor: Brains v Brawn will see 12 of the sharpest minds face off against 12 of the most physically formidable competitors. Each tribe is determined to Outwit, Outplay, and Outlast their rivals in the ultimate quest for the title of Sole Survivor and a life-changing $500,000 prize.

Ahead of its debut next Monday at 7.30pm on 10 and 10 Play, Mediaweek sat down with host Jonathan LaPaglia to get all the behind-the-scenes intel.

What can we expect from this year’s season?

I think this new season is super fun. We have a couple players who are not afraid to take risks and make big bold moves, and other big personalities who clash and bring the conflict. Together, it’s all very entertaining. In the words of the marketing department, “explosive!”. 

You’ve been doing this for quite some time now – since 2016 – has anything about this year’s season surprised you?

Even though the end goal is the same every season – to win the title of Sole Survivor – I am always surprised by the creative ways players take to get there. The paths are infinite, and I think that’s a huge reason for the longevity and success of the format. It’s always unpredictable and surprising.

Which group do you think you’d fit into? Because you’ve got the smarts and you’re tough!

I have T-shirt muscles, which are pretty much useless in the field. And I’m a thinker, so I’d probably be better suited to Brains. That being said, some would argue I over think things… so, I’d probably be of no value to either tribe.

Note: LaPaglia is actually a doctor – having received his media degree from the University of Adelaide in 1991.

Why do you think audiences love the added twists to the Survivor franchise?

Who doesn’t love the novelty of surprise? The twists keep the show unpredictable and fresh.

Australian Survivor: Brains v Brawn premieres on Monday 17th February at 7.30pm on 10 and 10 Play.

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When Seven Network’s director of content, Unscripted Majella Hay, talks, people listen.

That is, unless you’re Kyle Sandilands.

Hay is the brains behind the decision to relaunch The Australian Idol brand on Seven, 14 years after it was dumped by 10, and given her insight into the heritage brand, audiences would be forgiven for thinking Hay may be in the judges’ ears urging them to up the ante and subsequent drama.

But when asked by Mediaweek if she gave any kind of directive to the likes of Sandilands or fellow judges Marcia Hines and Amy Shark, Hay laughed.

“Do you really think I could tell Kyle or Marcia what to do?” she said. “I’d be a fool to bring people like that together and then impose my thoughts on them.”  Instead, Hay believes the key is to “empower them [the judges], to stand by their decisions and to be invested and engaged.”

While Hay and the rest of the production team stay silent – there is one group of people the judges are forced to listen and take advice from – the viewing public.

“I think sometimes they [the judges] do get a bit frustrated with what the audience decides once we get into the live shows,” Hay admitted. “Sometimes those decisions can be contentious, but I think that’s the beauty of the show. Ultimately, it is up to Australia to decide their Idol.”

Staying relevant

The show’s premiere in early February hit the ground running, coming in as the second most watched program of the day – after Married at First Sight’s debut – and launching with a total TV national reach of 2,256,000 and a BVOD audience of 83,000.

With viewership down slightly on Idol’s Monday and Tuesday shows – averaging out at around 1,692,000 total TV national reach – the franchises’ Sunday offerings have not only remained steady, they’ve increased since debut ,recording a total TV national reach 2,287,000 on Sunday 9 February.

It might be early days, but the ratings are already bucking the usual trend of a viewership decline after a premiere, especially in reality and competition shows.

Its consistency, arguably, an extraordinary feat for such a long running show.

Breaking the rules

With anything spanning across decades, a few nips and tucks here and there are expected. The trick, however, according to Hay is to ensure the bones of the building remain untouched.

“When you’re looking at any of these formats that have a really loyal following, you want to keep reinvigorating them, but they still have to feel like what the viewer knows – so it’s always a balancing act of making sure that you freshen them up, but not to the point that they become so foreign or removed that people don’t know what they’re watching,” she said.

This year, however, Hay said the team basically had their work done for them by the contestants.

“We realised very quickly this was going to be the season of surprises,” she said. “Even our judges were going, ‘I didn’t see that coming’.”

“For both Marcia and Kyle, who have done the show for so many years, to continue to be utterly and genuinely surprised is incredible.

Even now they often say to us, ‘we want to do something different here’ or ‘can we break the rules?’ and sometimes we let them and sometimes we don’t, but to have the judges so invested in the talent is exciting,” she said.

Watch Australian Idol  Sunday, Monday and Tuesday at 7pm on Channel 7 and 7plus. 

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The battle for streaming supremacy in Australia continues to heat up as key players jockey for position in 2024. According to the latest JustWatch insights, Netflix remains the leader in the SVOD (Subscription Video on Demand) market, but with Amazon Prime Video and local platforms like Binge and Stan making serious gains, the competition is fiercer than ever. And the shifting dynamics in media consumption patterns point to an even more fragmented and competitive future.

Netflix continues to reign supreme, holding a solid 25% of the market share in Q4 2024. But this dominance isn’t unchallenged. Amazon Prime Video, now a strong contender, holds a 5% advantage over Disney+. Meanwhile, local streaming services Binge and Stan are gaining ground, collectively claiming a 20% share of the market, just 2% behind Amazon Prime. As Australians continue to choose content that resonates with them, local platforms are showing they can go toe-to-toe with global giants.

Binge, in particular, is showing impressive growth. By the end of 2024, the service had bumped up its market share by 1%, signalling that Australians are increasingly turning to homegrown content. Amazon Prime Video also saw a similar 1% rise, closing the gap on Netflix and continuing to push for a bigger slice of the pie. These figures tell us that Aussies are becoming more discerning, seeking content that speaks to their tastes and preferences, whether it’s international or local.

Shifting habits: More streaming, less social media

In 2024, Australians are spending more time on streaming platforms than ever before. According to Deloitte’s 13th annual Media and Entertainment Consumer Insights report, Australians now spend as much time watching SVOD as they do traditional TV. The average Australian now spends over eight hours a week watching both SVOD and free-to-air TV, peaking multiple times throughout the day instead of the classic “prime time” viewing block.

Yet, while media consumption remains high, there’s a noticeable shift in how and when Aussies are consuming content. Media consumption has become more fragmented, with 75% of Australians engaging with media first thing in the morning, and over 80% doing so on their commute or before bed. This fragmentation highlights the growing flexibility of streaming services in capturing viewers’ attention at any given time.

But it’s not all rosy, Australians, particularly younger generations, are cutting back on screen time. Total entertainment consumption dropped by 10% over the past year, and for Gen Z, social media usage plunged by 20%. Time spent on social platforms like Instagram and TikTok has significantly decreased, with Gen Z spending nearly 20% less time scrolling.

Price hikes aren’t stopping Aussies, but they’re getting smart about it

The cost of living pressures are real, but Australians aren’t willing to cut entertainment from their budgets. Despite price hikes across many streaming services, the average Australian household still maintains 3.3 digital subscriptions, with the average monthly spend increasing by 10% to $63. Gen Z households are actually leading the charge, spending $88 a month on subscriptions, almost double that of Baby Boomers. This shows that while Aussies are tightening their belts, they still find value in their digital entertainment.

Most consumers are avoiding cutting subscriptions altogether, choosing instead to swap between services to take advantage of promotions or opting for a night in. However, as platforms push price increases, many Australians are feeling the strain. A significant portion of consumers (75%) worry about the cumulative cost of multiple subscriptions, yet most intend to stick with the same number of services through 2025.

Social Media: Trust in decline and calls for regulation

A major shift is happening in how Aussies engage with social media. Younger generations, particularly Gen Z, are stepping back due to concerns about the impact on their wellbeing. A growing sense of distrust surrounds social platforms,only 40% of Australians trust the news they consume through social media, compared to 73% who trust major news publishers.

This sentiment is leading to increased support for regulating social media. A staggering 90% of Australians, including 91% of Gen Zs, are in favour of stricter regulations on social media use for people under 16. Some even support an outright ban for under-16s, with 56% of respondents (and surprisingly, about a third of Gen Z) in favour of this move.

Representation is also top of mind for younger viewers. More than 64% of Gen Z actively seek out diverse voices in their media consumption, far above the 49% of consumers overall. This desire for inclusive and representative content is reshaping how Australians, especially younger ones, engage with streaming platforms.

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The Woolworths Group leveraged the 2024 Olympic and Paralympic Games to remind Australians of the link between fresh food and performance through its campaign: Fresh Fuels the Best in All of Us: The Paris 2024 Games.

To reinforce the message and target a younger demographic, the supermarket pivoted to TikTok as part of its strategy to meet audiences where they are and inspire customers of the importance of nutritious food in supporting the performance of athletes and everyday Australians.

The campaign proved successful for the supermarket chain in its sponsorship awareness and engagement results. It is also a finalist at the TikTok Ad Awards in the Greatest Brand Effectiveness Campaign category.

Andrew Hicks, chief marketing officer of Woolworths Group said: “At Woolworths, we are passionate about meeting our customers where they are and we knew that TikTok would be a primary place for many customers to spend time and engage with Games content.

“We took the opportunity to show up a little differently on TikTok, stretching our brand tone and personality to ensure we captured attention, in a platform-appropriate manner, whilst maintaining the essence of our distinct brand codes.

Leaning into entertaining and relatable content

Woolworths took to TikTok with its ‘Fresh Fuels the Best in All of Us’ proposition and leaned into creating entertaining and relatable content on the platform.

The campaign introduced the ‘Fresh Ambassadors’, a playful cast of fresh fruits and vegetables acting as coaches and commentators during the games, celebrating the efforts of Australians to eat well and perform their best.

The ‘Fresh Ambassadors’ featured in interview-style TikTok videos with Olympic and Paralympic athletes, such as Vanessa Low and Maurice Longbottom, and they showed how food fuels their performance.

Woolworths drove reach with key TikTok media placements by securing 80% of the Share of Voice through TikTok’s Top View during the Olympics Opening Ceremony.   

Strong impact and engagement

The campaign’s authentic, fun, and shareable approach was successful in its sponsorship awareness objective and health and wellbeing messaging.

Fresh Fuels the Best in All of Us ads proved to have a strong impact and engagement success as it resulted in a 12.8% uplift in ad recall (compared to an 8.6% benchmark), a 6.9% increase in brand association (above the 0.9% benchmark), and an 8.4% rise in sponsorship awareness (surpassing the 2.7% benchmark).

Woolworths Group CMO Hicks added: “We were very pleased to see the impact that the campaign had on TikTok including the joy our campaign brought to so many Australians.”

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The marketing landscape is shifting rapidly, demanding agility, entrepreneurial thinking, and adaptability – qualities that independent agencies like Assembled Media embody.

More brands are recognising the need for media partners that move fast and deliver meaningful impact, and the quickly evolving nature of the industry means they are realising the importance of staying nimble.

The pressure to remain relevant is greater than ever, and success depends on a media agency’s ability to react swiftly and strategically to market shifts.

However, as brands become more data-driven, they risk falling into the common trap of accumulating vast amounts of information without applying it effectively. With so much data being readily available, it’s important to focus on the right data. It’s not about gathering endless streams of data, it’s about turning that data into actionable insights that drive real results.

The fragmentation of media also requires agencies to know when and how to leverage different media and content types – whether through major news outlets, trade publications, community media, or alternative strategies like user-generated content to break through algorithms.

Having transitioned from the big agency world to the independent space, I understand the appeal of having access to big agency resources to boost your media strategy. Yet, these resources come with a catch of being slowed down by red tape and siloed teams.

The current state of the media world means brands need agencies that can blend expertise, agility, and innovative thinking – they need the flexibility and freedom that can only be found in independent agencies.

With brands prioritising meaningful outcomes over vanity metrics, successful media strategies need impactful solutions without the constraints of bureaucracy. Agencies that can strike the right balance between creativity and data-driven strategy will be the ones to come out on top.

The marketing world is evolving faster than ever, and there’s no room for complacency. Agencies must be agile enough to adapt, bold enough to seize new opportunities, and focused enough to deliver results that matter – or risk being left behind.

Top image: Gareth Nicholls

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oOh!Media has unveiled changes to its C-Suite that see its top people take on different roles in light of recent wins for the outdoor advertising company.

Neil Ackland steps into the newly created role of chief retail media officer after five years as chief content, marketing, and creative officer.

The new role at the business comes after news of Australia Post’s partnership with reo, powered by oOh!media, to trial its in-store screen retail media network across 60 Australia Post stores across Victoria that will engage with customers whether they’re sending or collecting a parcel, or using other services.

An oOh! spokesperson said in a statement: “Given the strategic focus and momentum of reo, powered by oOh!media in the rapidly growing retail media space, which this week announced a major partnership with Australia Post and with more announcements to follow, Neil Ackland has been appointed as chief retail media officer to capitalise on these exciting opportunities.”

In addition to Ackland’s new role, Bel Harper has been promoted from executive group director – product strategy. The spokesperson said: “Bel Harper, who has held senior leadership positions at oOh! for 13 years and worked in Out of Home for 27 years, adds marketing to her existing product remit, becoming chief product and marketing officer.”

Earlier this week, Australia Post announced it will trial in-store screen retail media network with reo, powered by oOh!media, to evolve its extensive physical footprint into a platform for connecting brands with consumers.

The screens give advertisers with opportunities to deliver targeted and contextual messaging with reo’s comprehensive retail media solution, including hardware, software, and services, which will enable the national postal service to launch its in-store network quickly and efficiently.

Aimee Dixon, general manager enterprise brand and retail marketing at Australia Post, said: “By leveraging our physical footprint, we are excited to expand the value we deliver to businesses across Australia, starting with a rollout in 60 locations in Victoria. Our collaboration with reo is a key part of this strategy, allowing us to connect brands with customers through dynamic in-store media solutions.”

Ackland added: “reo’s advanced infrastructure and extensive media expertise ensures Australia Post can unlock new revenue streams while maintaining focus on serving their customers. Together, we’re setting a new benchmark for contextual, targeted advertising across Australia.”

Top image: Neil Ackland and Bel Harper

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Mediaweek’s Media Movers charts the biggest people moves in the industry over the past week.

You’d be hard pressed to find a nicer human in the Australian media industry than Stevie Jacobs. Many would be forgiven for thinking the zest and joy The former Today Show weatherman brought to his reports was all ‘put on’.

Spoiler alert: It’s not.

But, just because Jacobs is affable and open, doesn’t mean he isn’t selective when it comes to the projects he takes on. It’s this approach that has seen Jacobs cherry pick the roles he’s done over the past few years, or rather, the part-time roles, with “dad” the main focus for the 58-year-old.

That’s changed now with his “beautiful girls growing up” leading Jacobs to team-up with the Australian-founded, global news platform, LeadStory.

Alison Hurbert-Burns has announced she is stepping down from her role of commissioner and executive director, content at Foxtel.

Hurbert-Burns made the announcement on her LinkedIn page, writing: “And that’s a wrap… after 6 epic years, I made the decision late last year to tender my resignation from the Foxtel Group and have shared the news with my team this morning.

“I’m very thankful for the chance to work in the Australian and global television industry. It’s made up of some of my favourite people, brilliant minds and wonderful colleagues. We get to tell stories that make a lasting impact, to make ART and be part of our audiences lives if only for a moment in time.”

NBCUniversal (NBCU) has promoted Chris Taylor to the role of managing director, APAC, TV Distribution and International Networks & DTC.

In this expanded role, Taylor will retain his existing remit overseeing content sales/distribution, networks and DTC in Australia & New Zealand, extending responsibility for sales/distribution, networks and DTC, across Asia Pacific.

The Media Federation of Australia (MFA) has made key leadership changes for 2025, appointing Mark Coad as chair and re-electing Virginia Hyland, CEO of Havas Media Group, as deputy chair.

Coad steps into the role of chair following Peter Horgan’s decade-long tenure at the MFA. Horgan, who served five consecutive two-year terms, will remain on the board until his tenure at Omnicom Media Group concludes.

ThinkTV, the prominent industry body for Australian television, has announced the departure of CEO Kim Portrate, leaving the organisation’s future in question.

Having led ThinkTV since its establishment in 2016, Portrate’s exit comes at a time of significant changes within the Australian television sector and a wider push for improved collaboration across the industry.

Portrate, a seasoned industry veteran, has been a key figure in ThinkTV’s mission to advocate for broadcast television, particularly in an era of declining linear viewership and increasing competition from global digital platforms.

Two former Kyle and Jackie O Show producers have decided to enter the commercial sphere, teaming up and taking their extensive and particular skills set to create their own range of creative offerings for brands.

Both Pedro Cuccovillo Vitola and Joshua Fox have joined AIIMS Creator Hub – in a move they say will let them not only utilise their talents but also give them the freedom to explore their, at times, quirky ideas.

Wavemaker has welcomed the appointments of Summer Treseder and Kate O’Loughlin to the GroupM agency.

Treseder and O’Loughlin, who join from Initiative, step into the roles of associate strategy director and O’Loughlin as strategy director, respectively.

The Federal Government has appointed Georgina Somerset AM as the ABC Board’s Deputy Chair for a six-month stint, filling the vacancy left by Peter Tonagh’s resignation in December.

Tonagh stepped down from his role to join the board of Nine Entertainment Co. as an independent non-executive director.

oOh!Media has unveiled changes to its C-Suite that see its top people take on different roles in light of recent wins for the outdoor advertising company.

Neil Ackland steps into the newly created role of chief retail media officer after five years as chief content, marketing, and creative officer.

In addition to Ackland’s new role, Bel Harper has been promoted from executive group director – product strategy.

DDB Group Melbourne has promoted head of planning Matt Pearce to the role of chief strategy officer.

He joined the Melbourne agency in 2021 and led strategy across the DDB, Mango and Tribal teams bringing his unique combination of understanding behaviour, insight and impactful creative strategy.

Catherine Naylor has joined The Sydney Morning Herald and The Age as World Editor, based in Sydney. Previously, she spent over two years as a Regional Affairs Reporter for The Sydney Morning Herald.

Paper Moose has expanded its creative team with the return of Jazz Twemlow in the role of senior creative copywriter.

Twemlow will team up with creative lead Claire Sutton to push the independent B-Corp and full-service creative agency’s trademark blend of hands-on craft with left-field ideas.

Audience Group has welcomed the promotion of Angela Rogers as client services director and appointment of Casey Greig as head of strategy.

For Rogers, the promotion recognises her contribution over close to three years as account director of the independent media strategy and advertising services agency.

Meanwhile, Greig joins Audience Group with 17 years of media strategy and research experience, bringing a bold, forward-thinking approach. She was drawn to the agency because she shares the co-founders’ commitment to challenging the status quo and pushing the industry forward.

Together Roger and Greig will balance ambitious thinking with practical execution to deliver on clients’ business objectives.

Lucy Macken has been appointed Investigative Reporter at The Sydney Morning Herald, following 12 years as Prestige Property Reporter and Title Deeds Columnist.

Foxcatcher has appointed Karan Kent as the APAC head of sales, reporting to managing director Marcus Betschel.

In the role, Karan will lead sales strategy for the RyanCap agency across the APAC region, focusing on building new and strengthening existing client relationships.

His brings a wealth of experience from his time at GumGum where he lead building partnerships and drove revenue growth. He also brings expertise in contextual advertise and data-driven marketing solutions.

Enero Group, a global marketing and technology agency network, has appointed Ian Ball to the newly created role of chief operating officer (COO), effective 17th February, 2025.

Ball brings over 40 years of international experience across consulting, technology, professional services, and private equity. He has held senior leadership positions in major organisations, including EY Oceania, where he served as deputy CEO and head of markets, overseeing a $1.4 billion business. His role at EY encompassed responsibilities in revenue generation, client management, business development, marketing, communications, and strategic acquisitions.

KINESSO has appointed Charlie Ransom to the newly created role of national trading and operations lead, search.

Ransom will be responsible for leading the development and delivery of innovative Search best practice; and creating a robust L&D agenda across Search for the agency nationally.

Ed Bourke has stepped into the role of Sports Reporter at the Herald Sun. He previously covered sports for NewsWire for two years, following a cadetship at the Herald Sun in 2022.

Mindshare has promoted Elliott Eldridge to the role of national head of strategy. In the role, Eldridge will work with the wider strategy and planning team to drive the GroupM agency’s Good Growth agenda and deliver growth for clients He will also be responsible for how the strategy team goes beyond the brief and answers the more pertinent business tensions that marketers are now facing.

Eldridge steps into the national role with responsibility for Mindshare’s Melbourne and Sydney client base, after four years leading strategy for its Sydney office.

Elizabeth Whitehead has transitioned to Senior Writer at Australian Traveller, after more than two years as a Writer and Producer.

OMG Australia made internal promotions to its specialist business unit, OMG Content, to support the growth and expansion servicing all the group’s agencies.

Sophie Walsh has been promoted to head of OMG Content Sydney, Hayley Pyper steps into the role of head of Shape, while Erin Fletcher moves into the role of head of Drum Sydney.

Nick Hurley has been elevated to head of Create Sydney – Partnerships, Lisa Leicester steps up as head of Create Sydney – Social & Innovation, as Lauren Easton is promoted to Head of Made.

Jack Baldwin has been appointed as the new head of media for Nibble Edge and will oversee media alignment, creative, and digital services to deliver seamless, high-impact work for clients.

He joins the creative agency from Athyna, Kaimera’s high growth bespoke agency which he launched. Baldwin was director of partnerships at Rufus where he oversaw Amazon’s paid media activities in Australia. He also held senior roles at DWA, and PHD, shaping media strategies for B2B, tech, FMCG and finance brands.

Sarah Cassell, National AWARD School Winner, joins 303 MullenLowe Perth as its newly appointed art director.

She will oversee a range of clients within the agency’s portfolio including government, Lotterywest, St John and a range of other new business wins. She will work alongside copywriter Ellysia Burton.

Domain has announced the appointment of Greg Ellis as interim CEO, effective 17 February, while the company continues its search for a permanent leader.

Ellis, who previously led REA Group from 2008 to 2014 and more recently served as CEO of MYOB until 2023, brings a wealth of experience to the role.

He has been a member of Domain’s board since its spinout from Fairfax Media in 2017, making him well-acquainted with the company’s operations.

The Energy has named Charis Palmer as Editor-in-Chief ahead of its April launch. She was previously the Director and Founder of Banking Review Media and has held roles including Managing Editor of Careers with STEM, Editor of Business Spectator, Technology Spectator, and iTnews, as well as Chief of Staff and Head of Digital Strategy at The Conversation.

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Digital media consultancy Prophesy Digital has announced a new workshop tailored for pharmaceutical marketers, diving deep into the evolving landscape of online healthcare marketing.

The Mastering Digital Media for Pharma workshop, set for Thursday, 24 April in Sydney, is designed to help national pharmaceutical marketers navigate digital media with confidence and compliance.

Prophesy Digital founder and digital media strategist, Mehrak Saheb, said: “Digital media has become one of the most critical channels for reaching healthcare audiences, and the pressure is on for pharmaceutical marketers to master the space.

“We know digital is a prime channel for reaching consumers, whether it’s those in immediate need of solutions or support, those looking to share their experiences or people seeking connection,” Saheb said.

The in-person session will explore Australia’s digital healthcare landscape, offering insights into pharma-specific media strategies, key digital channels, and their role in the patient journey. It will also address data privacy and measurement challenges in a post-cookie world.

Saheb added: “There’s also been much talk across the industry about the growing role of social media in the patient journey and its influence on how people navigate their healthcare journey. We’ve seen a rise in people following health-related influencers on social media platforms, engaging in discussions online, and observing others’ health journeys, particularly for long-term or ongoing conditions.

“With this workshop, we’re hoping to explore the Australian digital healthcare sector’s current state of play and unpick the role that each channel plays when it comes to interacting with consumers.

“Our goal is to give marketers the confidence to create platform-based, consumer-led strategies that build trust, engage audiences and ultimately, achieve better brand outcomes,” she said.

Digital media is a critical health information source for Australians. A 2024 Journal of Paediatrics and Child Health study found 89% of Australian parents use search engines for child health information, while 43% of parents of children with chronic illness turn to social media.

The digital media workshop will be held in Sydney at Three International Towers, Barangaroo on Thursday, April 24 from 9.30am – 5pm, and places are limited to six attendees.

To register, visit https://prophesydigital.com.au/workshop/

Pictured: Mehrak Saheb

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Mars United Commerce has named Kelly Wearmouth as managing director Australia and New Zealand (ANZ).

Wearmouth brings 18 years of experience to the role in leading and innovating in senior roles with prominent global companies including Unilever, Microsoft and Telefonica.

She joins the company after a decade with Amazon in roles for global, US, UK and ANZ markets, including delivering Amazon’s first global advertising agreement and launching its first global advertising campaign.

Wearmouth was also general manager of Amazon Ads in ANZ, and built a $100M+ business across all Amazon advertising products, including Twitch.

As managing director, Wearmouth will shape and execute Mars United Commerce’s regional operations, strategic direction and growth, including service expansion through development of new offerings that meet evolving client needs, continue to drive performance and growth by turning every brand experience into a connected commerce opportunity.

“I am thrilled to welcome Kelly as our new managing director for Mars United, ANZ,” Darren Keen, CEO International Markets at Mars United Commerce, said. “Her deep local market expertise, combined with world-class commerce and leadership capabilities, makes her the perfect fit to drive our continued success in the region.

“Kelly joins us at a pivotal stage in our company’s exciting evolution, having joined the Publicis Groupe in Q4 2024. Her leadership will be instrumental in supporting our clients’ growth ambitions, ensuring they thrive in an increasingly dynamic market. We look forward to the impact she will bring to our existing talented team.”

Wearmouth said of her new role, ”I am delighted to join the team at such an exciting and transformative time for the company. With a strong foundation in the ANZ market and the ongoing integration across our Publicis Groupe partners, there is unrivalled opportunity to drive innovation and growth for our clients. I look forward to working alongside this uniquely talented team to help our clients achieve their ambitious goals and navigate the evolving commerce market landscape with confidence.”

Wearmouth will lead a 60-strong ANZ team across Sydney, Melbourne and Auckland offices driving performance and growth for clients including Woolworths, Mars Inc., George Weston Foods, McCain, Australian Open and Nestlé.

Wearmouth’s appointment comes after the Publicis Groupe acquired the commerce company in September 2024 after rebranding earlier in the year from The Mars Agency to reflect its transformation as a full-service partner in the commerce marketing spectrum.

Top image: Kelly Wearmouth

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The Iconic has launched the new iteration of its ‘Got You Looking’ masterbrand campaign, developed with Dentsu Creative and Love Media.

The latest campaign captures customer attention with unforgettable double-take moments using visuals that showcase the breadth of style the platform offers.

The ‘Got You Looking’ campaign, which first launched in February 2024, heralded a comprehensive refresh of The Iconic’s brand identity. The platform claims that over the last year has seen the masterbrand achieve significant improvements, including a +34% increase in unprompted brand awareness, a +5% rise in consideration, and a +9% boost in purchase intent among both regular shoppers and new customers.

The brief to dial up the creative also applied to the media strategy, led by Love Media. The ‘Got You Looking’ campaign is set to appear in high-impact and contextually relevant placements across Video, OOH, Cinema and Video in Display. Additionally, a 3D installation and interactive activation will be featured at Martin Place Metro Station in Sydney.

“Last year, our focus was to reset and remind Australians why THE ICONIC truly lives up to its name. We wanted to get our customers looking again!” Joanna Robinson, chief marketing officer at The Iconic, said. “The campaign and strategy is clearly resonating, so this year, we’re taking it even further— delivering more captivating visuals designed to stop people in their tracks, all while showcasing the breadth of our stylish assortment.”

Leisa Ilander and Gillian Dalla Pozza, associate creative directors at Dentsu Creative, added: “For this phase, our goal was to create even more eye-catching, thumb-stopping work that sets THE ICONIC apart and, most importantly, gets even more Australians looking.”

The Iconic has also recently joined the Shift 20 Initiative, created by the Dylan Alcott Foundation, which is on a mission to increase representation, inclusion and accessibility in marketing.

Through this partnership, The Iconic has furthered its commitment to diversity and inclusion by ensuring its campaigns are representative of people living with disabilities, who account for 20% of the Australian population.

Georgia Thomas, director of brand, media, and comms at The Iconic, said: “The casting in this round was critical for us. We aimed to showcase a diverse range of talent that truly reflects our customers, each unique in their own way.

At THE ICONIC, inclusivity is at the heart of everything we do and delivers to our core purpose of creating a better way to shop and this campaign celebrates the individuality and diversity of our customer community.”

CREDITS:

THE ICONIC
Chief Executive Officer: Jere Calmes
Chief Marketing Officer: Joanna Robinson
Head of Brand, Media and Comms: Georgia Thomas
Brand Manager: Rachael Cameron
Head of Style: Nicole Adolphe
Head of Style – Menswear, Sport, Sneakerhub: Danielle Soglimbene
Creative Production Graphic & Copy Manager: Rachel Pink
Social: Max Beniac, Stephanie Cardona

Dentsu Creative
Chief Strategy Officer: David Halter
Chief Creative Officer: Ben Coulson
National Head of Production: Craig Sloane
Strategy Director: Nastassia Kuznetsova
Associate Creative Directors: Leisa Ilander, Gillian Dalla Pozza
Designer: Mike Papa
Group Account Director: Nicky Webster
Senior Account Manager: Ruby Tonkin

Production: Good Oil Films
Director: Natasha Foster
Executive Producer: Juliet Bishop
Producer: Taryn Mueller
DOP: Tony Luu
Production Designer: Cloe Jouin
Casting Director: Peta Einberg Casting

Post Production:
Editor & Online: Jos Eastwood· VFX: Andreas Wanda
Grade: Fergus Rotheram
Stills Photographer: Cole Bennetts
Audio Production: Electric Sheep

Media: LOVE Media
Managing Director: Rob Wall
Head of Media: Meredith Graham
Client Director: Ash Toeke
Senior Digital Manager: Melissa Mackay

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TikTok is back on Apple and Google app stores after Donald Trump postponed its ban until the 5th of April, assuring companies they wouldn’t face penalties for hosting the Chinese-owned platform.

Reuters reports the short-video app, with 170 million US users, began restoring services after weeks of downtime, following Trump’s pledge to reinstate access before his inauguration.

Last month’s executive order delayed the ban by 75 days, giving TikTok’s parent company, ByteDance, a temporary lifeline to continue operations in the US.

The directive also confirmed that app store operators wouldn’t be penalised for distributing or maintaining TikTok.

Despite the uncertainty, TikTok remains a powerhouse – ranking as the second most downloaded app in the US with 52 million installs in 2024, according to Sensor Tower. Of those, 52% came from the Apple App Store, while 48% were from Google Play.

TikTok, owned by Chinese company ByteDance, has been at the centre of a geopolitical tug-of-war. The US government first raised concerns over national security, alleging that TikTok could funnel user data to the Chinese government or be used as a propaganda tool.

Earlier reports suggested Elon Musk might  buy TikTok’s US operations, with Chinese officials allegedly considering selling the platform to Musk as a way to avoid the 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  set tongues wagging.

Meanwhile, in Australia the app has its own set of challenges. In 2023, the Australian government banned the app from government-issued devices, citing concerns over data security and potential foreign interference. This aligns with similar moves by the US and Europe, reflecting a broader global scepticism about TikTok’s Chinese ownership.

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Tyro has appointed Australian UFC star Alex Volkanovski as its Chief Tap Out Officer as the EFTPOS solutions company launches its Big Buyout campaign with Hello.

The campaign, which is live across social, website, CRM, PR and activations across NSW, centres on the brand’s obsession with the success of Australian businesses.

Tyro is offering businesses across NSW the chance to win a ‘Big Buyout’ with the brand sending Volk to spend up big for the day – and give all his purchased goods away for free to the public.

“This campaign shows Tyro’s commitment to supporting Aussie businesses, by teaming up with Volk, a well-loved Aussie star, and spending big, our aim is to help these local businesses thrive,” Sera Awad, Tyro’s head of marketing, said. “With his experience as a small business owner and his fearless attitude as a UFC fighter, we knew Volk was the right person for the job!” 

Sam Kelly, managing partner at Hello, said: “We loved that Tyro was up for doing something brave and disruptive. The concept has been embraced organisation-wide, welcoming Volk into his new role.

“We often see B2B brands trying to solve business problems with vanilla business influencers, case studies and whitepapers, but the reality is we are speaking to humans who also respond to culture and creativity. This thinking coupled with the power of giving back and purpose is as Volk would say ‘a bloody winner all round.”

The first official ‘Big Buyout’ begins at Hotel Ravesis at Bondi Beach on 23 Feb with two more scheduled later this year.

CREDITS: 

Client – Tyro
Head of Marketing & Strategic Alliances – Sera Awad
Head of Brand and Acquisition – Stephanie Brown
Head of Communications – Gemma Garkut
Brand Manager- Justine Duffy
Brand Specialist – Elle Tambakis
Communications Manager – Lucy Rowles
Campaign Marketing Manager – Matt Gregory
Senior Copywriter – Max Kitchen
Designer – Pearce Jacobs
Senior Digital Marketing Manager – Justyna Zawadzka
Senior Manager Marketing Automation – Nick Hallworth
Performance Optimisation – Shaydn Estreich
Customer Marketing Manager – Noel John
Digital Content Specialist – Michael Osborne

Integrated Agency – Hello
Managing Partner – Sam Kelly
Executive Creative Director – Dan Fryer
Director of Client Solutions – Julien Dupuche
Director of Media & Marketing Science – Daniel Hill
Head of Events & Experiential – Olivia Watts
Project Director – Joanna Allen
Art Director – Cody Waters
PR Lead – Allex Conley

Film Production: We Know Video

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Zeno Group has been appointed as the communications agency of record in Australia for The Gorilla Glue Company and O’Keeffe’s Hardworking Skincare.

The agency will put a comprehensive communications strategy that includes creative campaigns, media outreach, and influencer partnerships to build awareness and consumer trust for both brands, positioning them as essential, go-to solutions for Australian consumers.

The creative campaigns will be focused on educating consumers about each product through targeted earned media outreach, engaging storytelling, and strategic influencer partnerships to foster brand recognition and consumer trust.

The Gorilla Glue Company, based in Ohio, USA, is known for its strong and versatile premium adhesives. In 2010, the company acquired O’Keeffe’s Skincare, which is known for its O’Keeffe’s Working Hands Hand Cream.

“We are delighted to appoint Zeno Group as our communications partner as we enter a new phase of growth,” Lauren Croall, brand director, Asia Pacific, The Gorilla Glue Company, said.

“We believe Zeno’s creative approach and dedication to excellence will help us connect with our consumers in new and meaningful ways, driving growth and brand loyalty.”

Sarah Littlefair, Zeno Australia’s managing director, said: “We are proud to partner with The Gorilla Glue Company to advance their authentic, high-quality brands, Gorilla Glue and O’Keeffe’s. Our Zeno team is eager to take a bold approach to showcase these landmark products to a wider audience through creative and engaging campaigns.”

The new client additions for Zeno add to its portfolio of clients such as Lenovo, Motorola, Veeam and Yorkshire Tea. Zeno’s Sydney and Melbourne teams were recently honoured with PR Awards APAC Best Culture of the Year and Campaign Best Places to Work APAC – Best Employee Engagement.

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Sling & Stone has been appointed to lead brand awareness for global greetings cards and gifts platform Moonpig in Australia.

The platform transformed the British greetings card market in the 2000s by giving consumers the ability to personalise with photos and text. Now, Moonpig is a one-stop-gift shop that continues to innovate, developing an easy-to-use card design app, plus new features such as video messaging.

“Sling & Stone’s deep experience and passion in consumer retail and tech innovation complements our marketing programme for Australian shoppers,” said Mary Liu, international director at Moonpig.

“The creativity showcased in the pitch, their deep local networks and genuine passion for the brand confirms that we couldn’t have found a better partner; they are a true extension of our in-house team.”

Kelly Owens, director of consumer at Sling & Stone, said: “Moonpig is a pioneering, market-leading brand, forging connections to positively impact users, and doing it all with a sense of humour, making it the perfect pairing for Sling & Stone.”

In one of the closest votes in the show’s history, Sam Thaiday has taken out the title of I’m A Celebrity… Get Me Out Of Here! champion for 2025, winning $100,000 for his chosen charity, Find Ya Feet.

As the final three – Sam, Reggie Bird, and Matty J – neared the finish line, they reflected on their journey through the South African jungle: the relentless rice and beans, the gruelling trials, and the bonds forged along the way.

To mark their massive achievement, the trio were surprised by their loved ones, delivering an emotional reunion. Sam’s wife Rachel and daughters Ellsie and Gracie greeted him at the waterfall, Reggie was met by her daughter Mia and sister Anita at the creek, while Matty’s wife Laura Byrne and daughters Lola and Marlie-Mae joined him in camp.

Before their adventure came to an end, one final challenge awaited – the Hot Tub Slime Machine. Sitting in a concoction of rotten eggs, kale, elephant poo, and, of course, rice and beans, the celebrities relied on their loved ones to answer questions and earn stars for their last meal in camp.

With heartfelt goodbyes and final reflections, it was time for the big reveal. In a thrilling finish, Sam was officially crowned King of the Jungle, wrapping up an unforgettable season in support of Find Ya Feet, a charity dedicated to empowering future generations.

Of his charity, Thaiday said: “Tommy [Herschell] is an absolute legend of a man. I’ve been able to be a part of his workshops previously. His goal is to offer a platform for individuals to share their stories and equip them with the skills to be able to own their problems. He helps provide tools that enable them to shift that ‘get on with it’ culture well after the workshop pulls up.

“Their vision is to empower every individual with the tools and skills they need to engage in conversations that go well past ‘How are ya?’ I wish I had a mentor like Tommy to come and talk to me as a 13-year-old boy. His workshops give especially young boys a chance to share their emotions in a safe space without judgmental criticism,” he said.

“In 2007 I lost one of my best mates to suicide. If he had a mentor like Tommy at such a young age it could have helped him develop the skills to share stories and lessen the burden he felt, maybe Joey would be here today.”

If you need support you can call Lifeline on 13 11 14

Watch the entire series now on 10 Play

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The final auditions have now wrapped up, sealing Australian Idol’s Top 30 as thousands of hopefuls battled for their shot at stardom. But with competition fiercer than ever, only the best of the best walked away with a coveted Golden Ticket.

Judges Marcia Hines, Kyle Sandilands, and Amy Shark weren’t just looking for great voices – they wanted the full package. Star power, stage presence, and that elusive X factor were all on the checklist as they narrowed down the contenders for what’s shaping up to be Idol’s toughest season yet.

Hines summed it up: “This year, the bar has been set incredibly high.” Shark echoed the sentiment, emphasising the need for resilience: “I feel like I need to be firm. Surviving the music industry, especially now, is extremely challenging. You need to be very resilient to have a real shot of being in the Top 30 of Australian Idol.” Sandilands, meanwhile, didn’t mince words: “This is show business. Only the toughest have what it takes to survive. Our job is to put the 30 best people up.”

The Australian Idol 2025 Top 30:

• Aaliyah Duchesne, 27, Prospect, NSW

• Abbie Ferris, 25, Mallala, SA

• Chris Ah Gee, 31, Buddina, QLD

• Clint Posselt, 29, Maroochydore, QLD

• Dinley Jones, 26, Sydney, NSW

• Emma Jones, 23, Canberra, ATC

• Geistare Bubenaite, 23, Adelaide, SA

• Gisella Colletti, 16, Perth, WA

• Griffin Morris, 24, Hawthorne, QLD

• Hannah Waddell, 25, Doubleview, WA

• Hazel Sofia Symonds, 16, Mildura, VIC

• Henry West, 23, Byron Bay, NSW

• Iilysh Retallick, 17, Culcairn, NSW

• Izellah Connelly, 17, Southport, QLD

• Jake Whittaker, 29, Stockleigh, QLD

• Jaylena Heuskes, 24, Adelaide, SA

• Jaymon Bob, 22, Rockhampton, QLD

• Jazz Ella, 27, Buddina, QLD

• Jinja Blue, 21, Buddina, QLD

• John Van Beek, 18, Perth, WA

• Keely Ellen, 17, Bundaberg, QLD

• Kiedis Solberg, 16, Busselton, WA

• Liam Barton, 25, Kingaroy, QLD

• Majeda Beatty, 26, Castle Hill, NSW

• Marshall Hamburger, 19, Doonan, QLD

• Mzuki, 28, Melbourne, VIC

• Noah Lagesse, 28, Spearwood, WA

• Paxton Smith, 20, Brisbane, QLD

• Shiloh Kayondo, 20, Annerley, QLD

• William Le Brun, 20, Melbourne, VIC 

Australian Idol continues 7.30pm Monday and Tuesday on Seven and 7plus

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