Thursday July 17, 2025

‘It just feels strange – it’s eerily quiet’: Radio insider on Dave Cameron’s SCA exit

By Natasha Lee

Craig Bruce: ‘You do not leave this role without being gently pushed. It just doesn’t happen.’

The exit earlier this week of Southern Cross Austereo’s (SCA) Chief Content Officer Dave Cameron has left radio industry talking.

Since the announcement, there’s been radio silence from the broadcaster, a move former content director Irene Hulme told Mediaweek she found “really strange”.

On the most recent Game Changers podcast, Hulme’s co-host, programmer and Cameron’s former boss, Craig Bruce added: “You do not leave this role without being gently pushed. It just doesn’t happen.”

So, what did happen?

Cameron’s career

Dave Cameron (DC) stepped into the Chief Content Officer role in 2020. For those not across what that actually entails, Hulme gave Mediaweek the rundown: “He works with the broader national executive team and determines the strategy for that network. That includes everything from positioning to music, talent, tactics, and marketing, all of which fall under his leadership.”

In short, Cameron was the captain.

Dave Cameron with Hamish & Andy

Dave Cameron with Hamish & Andy

Ratings and rebrands

Back in March, SCA hosted a glitzy event at the Sydney Opera House, inviting media and advertisers to witness the unveiling of a “new look” for 2DayFM, the network’s embattled Sydney station. Against the backdrop of the Harbour Bridge, Cameron revealed its new branding: 2DayFM. Today AF.

The station promised to play “the hits, before they hit”, focusing on fresh music and elevating emerging Australian artists alongside global acts. Cameron said the aim was to break free from the predictable and offer Sydney listeners something different.

Leading the charge was the station’s new breakfast show: The Jimmy & Nath Show with Emma. Emma, of course, being Emma Chow, a late addition to the already established duo.

Just under six months later, and according to the last three 2025 surveys, the rebrand hasn’t landed the way SCA had hoped.

New shows, like The Jimmy & Nath Show with Emma, showed marginal signs of progress, posting a 3.9% Breakfast share, up 0.5 points, with cume growing by 8,000 to 310,000.

But much of the network’s lineup is still rebuilding following several programming changes.

Despite the stall, Cameron remained committed. In post-survey interviews with Mediaweek, he reiterated the same message: “We’re building new shows, and that takes time,” said Cameron. “But we’re seeing green shoots, and we’re pretty happy”.

Hulme doesn’t believe the 2DayFM results were enough to warrant showing Cameron the door.

“It just feels way too soon,” she told Mediaweek.

“If it was 12 months down the line and 2Day was working, then you could argue, well, the job here’s done. But that’s not the case. The rebrand has only just begun and they need DC’s guidance. He’s got a broad set of skills from coaching talent to, you know, to music strategy,” she said.

Meanwhile, in Melbourne, the station’s sibling breakfast show Fifi, Fev & Nick continues to grow, lifting its share to 8.9%, up 0.6 points. But those strong breakfast results didn’t fully translate to the station’s overall share, which landed at 8.2% (down from 8.4%).

Jimmy & Nath with Emma

The M’s

With 2DayFM no longer ratings dominant, Triple M has had to carry more of the load.

And to some degree, it has. In Survey 2, Triple M Sydney recorded its best result in several years with a 6.4% share. But by Survey 3, that number dipped to 4.9%, with the station losing 41,000 listeners, bringing its cumulative audience to 732,000.

The station’s overall share dropped to 4.9% from 6.4%, and a decrease of 41,000 in cumulative audience, bringing it to 732,000 listeners.

While its Breakfast offering of Beau, Cat & Woodsy recorded a 4.4% share, down from 5.9%.

In Melbourne, Triple M held steady with a 6.9% overall share and a consistent audience of 778,000. But breakfast show, Mick in the Morning with Roo, Titus & Rosie, fell from 7.3% to 5.9%.

There was better news for Drive, with The Rush Hour with JB & Billy posting a 10.6% share, its best Drive result since Survey 4 in 2006. Still, two underperforming breakfast shows across the two key networks is far from ideal.

Hulme said Cameron’s departure couldn’t come at a worse time.

“He’s not leaving the network in a good, stable position,” she explained.

“He’s got those two new Breakfast shows in Sydney. The team under him is either not experienced enough, or in some cases, there’s not even a team under him in some markets.”

Despite lacklustre results, the network has held onto the crucial 25–54 demographic, which brings in 80% of its ad revenue. But Bruce is sceptical of the way the success has been framed.

Jumped?

Did Cameron walk or was he pushed? For Hulme it’s all a mystery.

With those new Sydney breakfast shows just launched, Hulme said she struggled to see how Cameron would “feel comfortable about leaving his team”.

“I just don’t see him leaving them in the lurch like that,” she said.

“Dave is an incredibly passionate programmer. He’s someone who cares deeply about his team, and he’s made some significant changes across the network, so it makes no sense that he would leave now, when it’s only just begun.

“Dave loves his team so much that he would want to be there to provide the guidance that they need to get to where they need to get to and become successful.”

John Kelly SCA

SCA’s John Kelly

Public spat?

In March, Mediaweek asked SCA CEO John Kelly if he’d consider poaching GOLD’s Jonesy & Amanda, who are off-contract at ARN at the end of 2026.

His answer? “They should be on our network.” Kelly added the pair “should be at Triple M” and said “We’d love to have them.”

But in June, when Mediaweek asked Cameron about those comments, he firmly shut it down.

Any rumour of a Jonesy & Amanda jump, he said, was “categorically incorrect”.

“We are focused on bringing new faces and new voices through to re-energise the industry,” he said. “We’ve had multiple competitor shows reaching out to us but we have our own strong plans in place.”

Bruce singled out the public difference of opinion on the podcast, calling it “weird”,

LiSTNR focus?

SCA’s digital business, LiSTNR, remains a central pillar of its future strategy, and Cameron has said it accounts for “60% to 70% of our total product”.

“We’re well aware that you can get podcasts here, there, and everywhere,” he said. “But LiSTNR is the exclusive platform for the live streaming of all of our radio stations, you can’t stream them anywhere else. Our broadcast shows are the nucleus for uptake.”

Earlier this year, SCA renewed its exclusive podcast deal with Hamish & Andy, one of the country’s most downloaded shows, a major win for both audience and advertiser retention.

Still, Bruce questioned whether Cameron had given digital enough focus.

“And we all know how important LiSTNR is to SCA,” he said. “So a couple of other suggestions. Does SCA have a buyer who just wants the radio assets? SCA keeps LiSTNR so that role and whatever structure is moving forward is obsolete.”

Hulme, however, doesn’t believe a focus on digital means neglecting the broadcast side.

“They are, but they need the linear… or they need the broadcast side of the business to do well. It’s never going to be the second place.”

Keep on top of the most important media, marketing, and agency news each day with the Mediaweek Morning Report – delivered for free every morning to your inbox.

Mediaocean - Market Report H2
Global survey finds marketers shifting investment to Connected TV, AI, and Identity

By Alisha Buaya

Michael Serratore: ‘Signs point to continued investment uplift in the channel, but measurement inconsistency and fragmentation remain some of the industry’s biggest challenges.’

Marketers are shifting from experimentation to implementation with connected TV (CTV), artificial intelligence (AI), and identity strategies emerging as central areas of investment, according to the Mediaocean 2025 H2 Market Report.

The global survey claims by the platform for omnichannel advertising provided an overview of the most pressing key trends shaping advertising in the second half of the year.

It revealed that marketer are leaning into personalisation, performance, and connected systems to fuel cross-channel, full-funnel strategies.

CTV remains a leading channel for planned budget growth, with 58% of marketers intending to increase spending in H2.

The report noted that As CTV matures, marketers’ focus is no longer just on reach, but also on precision and performance. Personalisation was the top driver of CTV effectiveness, while cross-platform frequency management and measurement were noted as persistent challenges.

Creative versioning, cross-platform optimisation, and identity-informed targeting are now considered essential to unlocking CTV’s full-funnel value.

Generative AI stays at the top consumer trend for the second consecutive reporting period, with 72% of marketers prioritising its use, up 15% from H1. Marketers are moving past experimentation and using AI across the ad lifecycle, from creative production, copywriting, media planning, data analysis, and campaign optimisation.

Identity and demand generation grew as strategic priorities, rising 41% and 33% as strategic priorities. Marketers are adopting multi-ID strategies that combine first-party data, partner IDs, and other signals to maintain audience continuity across channels as third-party cookies decline.

Cultural and political sensitivity has seen an 82% increase as a priority since H1. As political and advocacy issues increasingly intersect with brand communications, marketers are rethinking messaging and positioning with more nuance, using AI-powered creative tools to adapt in real-time and speak authentically across diverse audiences and contexts.

Mediaocean - Michael Serratore

Michael Serratore: ‘Creative is gaining recognition as a pivotal driver in campaign performance, driving demand for the ability to effectively activate and measure creative strategies with a central source of truth.’

Michael Serratore VP, Client Success at Innovid, said: “While the uniqueness of the Australian market can often buck global data trends, it’s telling that the findings from Mediaocean’s 2025 H2 Market Report actually validate what Australian advertisers and agencies have been experiencing here locally with the acceleration of CTV growth.

“Signs point to continued investment uplift in the channel, but measurement inconsistency and fragmentation remain some of the industry’s biggest challenges.

He added: “The correlation between our global market report and the IAB Australia’s recent surveys reinforces that fragmentation is a universal barrier holding back CTV’s full potential and shows personalisation as one of the biggest untapped opportunities for driving full-funnel performance.

“This aligns with the broader sentiment shift we’re seeing in Australia where creative is gaining recognition as a pivotal driver in campaign performance, driving demand for the ability to effectively activate and measure creative strategies with a central source of truth.”

Karsten Weide, Principal & Chief Analyst, W Media Research, said: “Marketers are meeting change with a blend of resilience and reinvention.”

“As legacy IDs fade and AI transforms every corner of the ad tech stack, brands are building smarter, more flexible systems—rooted in identity, demand generation, and the measurable performance of channels like CTV.

“This report shows that the future isn’t something marketers are waiting for, it’s something they’re actively engineering.”

Aaron Goldman, CMO, Mediaocean, said: “When it comes to omnichannel advertising, we’re seeing a transition from experimentation to expectation.”

“Marketers are no longer testing AI, CTV, or multi-ID strategies—they’re building with them.

“The second half of 2025 will be defined by how well brands align their technology, data, and creative to deliver connected, outcomes-driven experiences.”

The 2025 H2 Market Report is the eighth installment in Mediaocean’s bi-annual research series, bringing together more than 5,500 perspectives from agencies, brands, publishers, and platforms over the past four years.

The live webinar, The Mediaocean Current: 2025 H2 Market Research, on Tuesday, July 29, 2025, will feature takeaways from Mediaocean and speakers, including Weide, IAB’s Angelina Eng, and Lafayette Media Group’s Jon Lafayette.

Keep on top of the most important media, marketing, and agency news each day with the Mediaweek Morning Report – delivered for free every morning to your inbox.

Havas Red white paper
Havas Red's New Age of Influence calls out media credibility crisis

By Tom Gosby

The white paper explores how Australians are navigating a fractured media landscape shaped by algorithms, misinformation, and declining trust.

Havas Red has released a new white paper exploring the pressures reshaping Australia’s media and communications industries, urging journalists, PR professionals, and platforms to rebuild trust in an era increasingly dominated by misinformation and algorithmic influence.

The paper, titled A New Age of Influence: Navigating the News You Don’t Choose, examines the shifting dynamics of how Australians access and engage with news. It identifies a digital landscape where content is increasingly curated by algorithms rather than editors, eroding public trust and complicating the path to credible information.

“Australia’s media landscape is at a crossroads,” said Shane Russell, CEO, Havas Red Agency. “Audiences are seeking more than just information—they want trust, depth, and meaning in an era dominated by noise and misinformation.”

Shane Russell

Shane Russell

Russell added that for PR practitioners and newsrooms, “The challenge is clear: We must double down on our commitment to accuracy, transparency, and genuine connection with our audiences.”

 

Key takeaways from the white paper

• Trust and credibility: The report points to deep-seated scepticism in the media, calling for stronger fact-checking, independent reporting, and responsible storytelling.
• Algorithmic influence: AI and social platforms increasingly shape what users see, raising concerns about bias, clickbait, and the loss of editorial oversight.
• Citizen journalism: While empowering, the rise of grassroots reporting presents challenges around accuracy and accountability.
• Importance of specialisation: As newsroom resources shrink, the paper calls for a renewed focus on subject matter expertise to maintain journalistic standards.
• The subscription shift: With ad revenues falling, the industry is moving toward reader-supported models—but accessibility and value must remain top of mind.

The Australian edition of the paper draws on insights from Havas Red’s local offices in Sydney, Melbourne, Brisbane, Hobart, and Perth. It situates the challenges facing earned media in a global context, from political instability and corporate consolidation to the changing economics of journalism.

“It’s not just about being heard—it’s about being trusted,” Russell said. “At Havas Red, we believe in investing in expertise and forging real relationships to deliver meaningful communication.”

Havas Red’s white paper, A New Age of Influence: Navigating the News You Don’t Choose, can be accessed here.

Keep on top of the most important media, marketing, and agency news each day with the Mediaweek Morning Report – delivered for free every morning to your inbox.

Email marketing CRM Klaviyo empowers customers with new AI shopping agents

By Dan Barrett

The consumer brand CRM Klaviyo has unveiled a public beta today for its new product delivering its clients conversational AI sales agents.

Klaviyo is a customer relationship management platform that is taking a major step forward by empowering its clients, typically consumer brand SME’s, with AI-powered tools. These tools include conversational AI shopping agents, real-time customer data, and seamless service experiences.

It is part of a public beta that Klaviyo clients can join from today.

For its recent 2025 Online Shopping Report, Klaviyo surveyed 2,000 consumers across the US, UK, Australia, and New Zealand and, in a fortunate circumstance, they found results that validated the new product offering:

• 62% of respondents would prefer that while they are online shopping, that AI remember their preferences rather than having to re-explain them to a salesperson

• 46% are more comfortable sharing their shopping history with AI for recommendations than with their partner

• More than half (53%) would rather chat with an AI agent for help than email a customer service representative

The new Klaviyo conversational AI agent is powered by the Klaviyo Data Platform (KDP) and delivers clients personalised, always-on support using real-time session context, storefront knowledge, and marketing insights, all powered by the Klaviyo Data Platform (KDP).

Stripping away the sales jargon, the AI agents help shoppers move from discovery to purchase by answering their questions and  recommending products. The AI agent is a function built into Klaviyo’s “Customer Hub,” which gives allows its clients to personalise and control the shopping journey for signed-in consumers using their online store.

Being built into the Customer Hub, Klaviyo’s AI agent is trained with the data on a brand’s storefront, including its product catalogue and FAQs. It also means that pre-existing Klaviyo customers with product catalogues, help content, and other information can go live with the AI agent functionality within minutes.

Klaviyo’s promotional video explains what Customer Hub offers fairly well:

“Consumers are increasingly comfortable shopping with AI,” said Grant Deken, head of product, Klaviyo Service.

“But until now, only the biggest players could afford to build AI shopping assistants that drive purchases, not just answer simple questions. With Klaviyo’s conversational AI agent and the rest of our service suite, we’re giving every brand the ability to offer self-serve experiences that feel as helpful as your best in-store associate.”

The AI agents will be updated later in the year to process returns, update subscriptions, and edit shipping details. It’s will also be available on channels like WhatsApp, RCS, SMS, and email.

“We didn’t buy or bolt on Klaviyo Service, we built it from the ground up with the Klaviyo Data Platform at its core,” said Adil Wali, chief product officer at Klaviyo.

“Processing over 2 billion daily interactions across more than 7 billion profiles, that foundation gives brands a real-time, fully connected view of every customer across both marketing and service, making it possible to deliver faster, smarter support that actually drives growth.”

“As B2C brands look to drive more revenue from every customer touchpoint, unifying marketing and service is becoming a clear strategic advantage,” said Roger Beharry Lall, research director at IDC.

“Bringing these traditionally siloed functions together allows teams to deliver more personalised, connected experiences — and turn support interactions into opportunities for growth.”

Scandal slices through MasterChef UK as both hosts exit over serious misconduct claims

By Natasha Lee

With both co-hosts now out and unaired series in question, MasterChef UK faces a significant reset.

MasterChef UK is facing its biggest crisis to date, with both long-time hosts John Torode and Gregg Wallace exiting the program following separate but serious allegations.

Australian-born Torode’s contract will not be renewed after a complaint about the use of racist language was upheld, while Wallace was let go last week amid dozens of allegations related to inappropriate conduct, including sexual harassment.

The pair have fronted the BBC’s cooking juggernaut since 2005.

The developments have cast uncertainty over the show’s future, with unaired episodes in limbo and fresh questions raised about the culture behind the scenes.

 

Allegation against Torode

Torode’s departure follows a review led by legal firm Lewis Silkin, which investigated claims of misconduct on the MasterChef UK set.

Now, and stay with us here, that review was initiated after multiple complaints were made about Wallace’s behaviour. However, it also upheld a separate 2018 complaint against Torode involving “highly offensive racist language.”

In a statement, Banijay UK said: “The legal team at Lewis Silkin that investigated the allegations relating to Gregg Wallace also substantiated an accusation of highly offensive racist language against John Torode, which occurred in 2018.

“This matter has been formally discussed with John Torode by Banijay UK, and whilst we note that John says he does not recall the incident, Lewis Silkin have upheld the very serious complaint. Banijay UK and the BBC are agreed that we will not renew his contract on MasterChef.”

A BBC spokesperson echoed that stance: “John Torode has identified himself as having an upheld allegation of using racist language against him. This allegation, which involves an extremely offensive racist term being used in the workplace, was investigated and substantiated by the independent investigation led by the law firm, Lewis Silkin.

“The BBC takes this upheld finding extremely seriously. We will not tolerate racist language of any kind and, as we have already said, we told Banijay UK, the makers of MasterChef, that action must be taken. John Torode’s contract on MasterChef UK will not be renewed.”

UK media reports that Torode was the subject of multiple allegations, although only one was substantiated. He recently completed filming of a new season of Celebrity MasterChef alongside new judge Grace Dent, but the future of that season remains unclear.

John Torode alongside new Celebrity MasterChef judge Grace Dent

John Torode alongside new Celebrity MasterChef judge Grace Dent

 

Torode denies the claim

In a statement released on Monday, Torode said: “I have absolutely no recollection of any of this, and I do not believe that it happened. However, I want to be clear that I’ve always had the view that any racial language is wholly unacceptable in any environment. I am shocked and saddened by the allegation, as I would never wish to cause anyone any offence.”

John Torode's post on Instagram

John Torode’s post on Instagram

Later, Torode posted to social media: “Although I haven’t heard from anyone at the BBC or Banijay – I am seeing and reading that I’ve been ‘sacked’ from MasterChef UK and I repeat that I have no recollection of what I’m accused of. The enquiry could not even state the date or year of when I am meant to have said something wrong.

“I’d hoped that I’d have some say in my exit from a show I’ve worked on since its relaunch in 2005, but events in last few days seem to have prevented that. Over the past few months, I have been considering my life and the shape of it now and in the future.

“Celebrity MasterChef UK, which I recently filmed with Grace Dent, along with two fantastic Christmas specials, will be my last. Personally, I have loved every minute working on MasterChef, but it’s time to pass the cutlery to someone else. For whoever takes over, love it as I have.

“I will watch fondly from afar as I now focus on the many other exciting projects that I have been working towards. My tummy will be grateful for a rest after 20 years of eating, but what a joy it has been. Life is everchanging and ever moving & sometimes personal happiness and fulfilment lay elsewhere.”

 

Wallace let go amid serious claims

The investigation that led to Torode’s departure was originally sparked by allegations against co-presenter Gregg Wallace. Wallace was sacked last week after BBC News revealed a string of claims related to inappropriate sexual behaviour.

More than 50 individuals reportedly approached the BBC with complaints. Allegations include groping, indecent exposure, and inappropriate comments directed at junior staff. Wallace denies all claims.

In a statement on Instagram, Wallace said: “I recognise that some of my humour and language, at times, was inappropriate. For that, I apologise without reservation. But I was never the caricature now being sold for clicks.” He also claimed that he had been cleared of the “most serious and sensational allegations” by the same Lewis Silkin review.

Greg Wallace

Greg Wallace

 

A changing culture at the BBC

Speaking at a BBC board meeting, Director-General Tim Davie said: “I absolutely think [MasterChef UK] does [have a future]. I think a great program that is well-loved by audiences is much bigger than individuals. It absolutely can survive and prosper, but we’ve got to make sure we’re in the right place in terms of the culture of the show.”

When asked about whether the unreleased seasons featuring Wallace and Torode will air, Davie said: “This is a difficult decision, and we need to weigh it up carefully. We’re thinking through things.”

A former member of the production team told The Telegraph: “The people in power are the problem. They have enabled this behaviour and that needs to change. I hope the show undergoes a cultural change now. This has been a long time coming.”

BBC Director-General Tim Davie

BBC Director-General Tim Davie

 

What comes next?

With both co-hosts now out and unaired series in question, MasterChef UK faces a significant reset.

Banijay and the BBC will need to manage not only the reputational fallout but also the future direction of one of the broadcaster’s flagship formats. While audiences may be loyal, changes behind the scenes, and in front of the camera. will determine whether the series can survive this latest reckoning.

Keep on top of the most important media, marketing, and agency news each day with the Mediaweek Morning Report – delivered for free every morning to your inbox.

iD Collective x Sushi Sushi
Sushi Sushi plans for sale with strategic comms appointment

By Alisha Buaya

Amanda Booth: ‘This collaboration brings fresh creative energy and strategic thinking.’

iD Collective has been appointed as the strategic communications agency for sushi franchise Sushi Sushi as it prepares for further growth and a planned sale.

The agency will handle business media relations, strategic partnerships, product launches, and corporate communications to support Sushi Sushi’s brand awareness and market positioning.

Sushi Sushi, established in 1988, operates as a national sushi franchise known for its handcrafted products.

Amanda Booth, Executive Director of iD Collective, said of the appointment: “This collaboration brings fresh creative energy and strategic thinking, allowing us to leverage our strong media relationships to generate impactful coverage and support the next chapter of this iconic Australian brand.”

The appointment follows the merger of iD Collective and Noisy Beast, which brought creative, media, content, and social services under one group.

Sushi Sushi, previously a client of Noisy Beast, has now joined iD Collective’s client portfolio. Recent client additions to the roster include TK Maxx, Sally Hillman, BLUNT, and Pretzel.

At the end of June, the new brand platform and major campaign for Sushi Sushi was unveiled. The campaign positions the chain as a category leader in the premium, health-conscious end of the quick-service restaurant (QSR) market.

The campaign, titled ‘Real food. Ready to go.’, is the result of a strategic repositioning backed by market research and a creative overhaul developed by Noisy Beast.

The campaign will run through to 24 August across digital, metro TV, and outdoor channels, with creative focused on store-centric radius targeting. Activity will span key markets including Melbourne, Sydney, Brisbane and Perth.

The initiative also marked iD Collective, part of the merged Noisy Beast group, lead PR amplification across earned channels as part of a cross-functional campaign model.

Keep on top of the most important media, marketing, and agency news each day with the Mediaweek Morning Report – delivered free to your inbox.

Platypus Shoes x Live Nation x Kicks Club
Platypus Shoes teams up with Live Nation to launch music-focused loyalty program

By Alisha Buaya

Kristy Rosser: ‘Our global loyalty studies indicate that over 90% of Australians are part of a loyalty program, with 3 in 4 switching for live music perks alone.’

Platypus Shoes has launched a new loyalty program, Kicks Club, aimed at Gen Z consumers through a campaign tied to music, retail, and cultural events.

The program is supported by a multi-phase omnichannel campaign in partnership with Connect by Live Nation

Kicks Club is free to join and offers members early access to product launches, events, and exclusive perks.

From September to November 2025, Platypus will collaborate with three brand partners across online and in-store campaigns, concluding with live music events for members.

Georgia Randall, Head of Marketing for Platypus Australia and New Zealand, said the program was built around Gen Z behaviours, noting research from Connect by Live Nation showing 98% of Gen Z value retail brands that collaborate with live music, and 93% shop in advance of such events.

“Kicks Club is a way for us to give back to our loyal customers across Australia and New Zealand who value access to social experiences that they are passionate about.

“Gen Z are looking for everyday experiences and cultural, ‘IRL’ moments, so partnering with Connect by Live Nation is critical in helping us achieve this for our member base.”

As part of the campaign, Platypus becomes the exclusive footwear partner for the Spilt Milk festival in December and Rhythm & Vines in New Zealand during the New Year period.

Kristy Rosser, Senior Vice President, Head of Media and Sponsorship at Live Nation Australia and New Zealand, said the partnership supports long-term engagement and brand loyalty.

“We know from multiple studies that creating memorable moments for Gen Z is vital in gaining their trust and long-term loyalty – particularly when it combines their passions. Our global loyalty studies indicate that over 90% of Australians are part of a loyalty program, with 3 in 4 switching for live music perks alone.

“This shows the value that Gen Z place on being part of a club that truly motivates and excites them. We are thrilled to partner with Platypus to amplify their brand through live music and provide their community with experiences they will never forget.”

To launch the ‘Kicks Club’ campaign, Connect by Live Nation will deliver exclusive live music events, artist collaborations and digital and social activations.

Keep on top of the most important media, marketing, and agency news each day with the Mediaweek Morning Report – delivered for free every morning to your inbox.

Connecting the dots with LinkedIn - the power of group marketing (1)
LinkedIn rolls back feed change that showed weeks-old posts

By Tom Gosby

LinkedIn has confirmed it will revert recent changes to its feed algorithm after users complained about seeing outdated posts.

LinkedIn is adjusting its feed algorithm following backlash from users who were inundated with outdated posts, some several weeks old, as part of a recent test. The professional networking platform confirmed it will now revert aspects of the test and restore a more time-sensitive experience.

 

The experimental change

The change was first noticed in late June, when users began reporting a surge in older posts reappearing at the top of their feed. According to Bhairavi Jhaveri, B2B Communications Lead at LinkedIn EMEA & LATAM, the shift was part of an experiment aimed at balancing relevance with recency.

“Your Feed may have looked slightly different in the last few weeks… This was part of some testing we were doing to strike the right balance between prioritising relevant content vs recent content in your feed,” Jhaveri wrote on LinkedIn. “The dramatic shift was only temporary and it will go back to feeling far more normal now.”

The test was designed in response to member feedback, with some users saying they missed important updates, such as job changes, if they hadn’t logged in for a few weeks. The algorithm tweak aimed to ensure those posts weren’t buried simply because they weren’t recent.

Gyanda Sachdeva, LinkedIn Vice President of Product Management, told Business Insider the goal was to resurface career milestones and valuable insights that might otherwise be missed. But the company acknowledges that the test had unintended side effects.

“We want to make sure that we strike the right balance,” said Sachdeva. “The goal is not to suddenly make it feel like it’s all from five weeks ago.”

According to Jhaveri, LinkedIn’s broader vision for the feed is to make it “more timely, relevant, connected, and conversational.” The platform says it will continue to fine-tune its algorithms based on user feedback and engagement signals.

LinkedIn currently has over 1 billion users globally, with Australia representing a significant and growing market, especially among marketers and business professionals. Changes to how the feed operates can have ripple effects across content strategies, particularly for agencies and media outlets that rely on timely visibility.

“In the new normal, you should expect to see a little bit of a flex on recency because we want to make sure that posts are relevant to you.” Jhaveri added.

 

Want your feed back to normal?

If the influx of older posts is still disrupting your experience, LinkedIn users can manually switch to a chronological view. Go to Settings > Account preferences > Preferred feed view and select “most recent posts” to prioritise newer updates over algorithmic suggestions.

Keep on top of the most important media, marketing, and agency news each day with the Mediaweek Morning Report – delivered for free every morning to your inbox.

Oh baby! Are Media’s Bounty Parents and BIG W partner to support new and expecting families

By Natasha Lee

The initiative leverages Are Media’s long-standing influence in the parenting space.

Are Media has announced a new partnership with Australian retailer BIG W through its parenting platform Bounty Parents, launching a co-branded baby bag designed to support new and expecting families. The collaboration aims to connect brands with parents at a pivotal life stage and marks the beginning of a broader strategic alliance between the two companies.

The online Bounty Parents platform reaches more than 420,000 parents and parents-to-be annually. Its combination of expert editorial content, product sampling, and community engagement provides advertisers with a direct link to Australian families during key decision-making moments.

 

Supporting new families at scale

The campaign will see 10,000 limited-edition baby bags distributed nationally via Bounty Parents’ exclusive hospital network. Each bag includes a curated mix of products from trusted brands such as Dymples, Huggies, Curash and Medela. The initiative leverages Are Media’s long-standing influence in the parenting space, where Bounty Parents has supported Australian families for over 40 years.

According to Are Media Director of Sales, Anna Quinn, the campaign is a strong example of what Are Media can deliver through its content-to-commerce capabilities and direct access to a high-trust audience.

“We’re very proud to partner with BIG W to support new and expecting Australian families,” Quinn said. “This partnership reflects the best of what Are Media can offer in terms of trusted editorial platforms, meaningful consumer connection and brand integration at scale.

“Bounty Parents gives advertisers access to one of the most pivotal life stages, when brand decisions are being made and loyalties are being formed. BIG W is a leader in the baby category, and through our exclusive channels and trusted voice, we’re able to help them connect meaningfully, and at scale, with the next generation of Aussie families.”

Are Media's Bounty and BigW

Are Media’s Bounty and BigW

 

Connecting with families from the beginning

BIG W, which has a strong presence in the baby and family retail category, sees the partnership as a way to further support local communities and engage parents early in their parenting journey.

“BIG W is pleased to partner with Bounty Parents to support new parents during this special time,” said Stephanie Denman, Senior Marketing Manager, Everyday, at BIG W.

“We’re committed to making a difference for Australian families in our local communities and believe this partnership allows us to connect with new parents in a meaningful way.

“By joining forces with Bounty Parents, a trusted partner in the category reaching so many families, we hope to make a positive impact and build lasting relationships with parents from the very beginning. Supporting Australian families and the community is important to BIG W and this partnership reflects that commitment.”

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IMAX announces up to five new Australian locations in HOYTS partnership

By Dan Barrett

Australian chain Hoyts and IMAX are renewing their relationship with a plan for four IMAX screens across the country.

After a six-year break in their corporate relationship, IMAX Corporation and HOYTS Cinemas today announced a new agreement for up to five IMAX screens in Australia.

The first new IMAX location in this partnership is due to open in Melbourne later this year, ahead of the release of the highly-anticipated, crowd-favourite “Avatar: Fire and Ash”. The previous Avatar movie, “Avatar: The Way of Water”, earned over AUS$3.5 billion globally, with expectations that the new film could do similar box office.

The deal includes a further four locations that will be identified at a later date.

Australia has been identified as a key region for expansion by IMAX with the company revealing plans to have up to forty IMAX screens in Australia. Currently the IMAX theatre in Sydney is the 4th best-performing IMAX location globally, with the Melbourne location ranked 9th.

Overall, Australia currently ranks as the 10th market for IMAX box office. Last year, Australia saw an average of $4.5 million per IMAX screen, securing its position as the top market overall by per-screen-average (PSA). Last week’s release of Warner Bros’ “Superman” on IMAX screens in Australia delivered nearly 6% of box office takings, despite only having four locations in Australia (the other two locations are in Canberra and on the Gold Coast).

The four existing locations in Australia are managed in partnership with EVT, the hospitality company that runs the Event Cinemas chain. EVT has announced plans for three new IMAX screens in 2026 and a fourth in 2027.

“As the pioneer of IMAX screens in multiplex cinema in Australia, HOYTS is delighted to partner with IMAX again. Our foundation site at Melbourne Central will be open for ‘Avatar: Fire and Ash,’ with more sites to be announced shortly,” said Damien Keogh, CEO and President of HOYTS Group. “Every one of our cinemas has touch points that elevate them from a usual experience: from the quality of our recliners, through to state-of-the-art technical enhancements. The opportunity to see things on IMAX is really going to enhance HOYTS’ reputation as the premier destination for film experiences.”

“Australia continues to be a priority for IMAX, and this agreement with HOYTS Cinemas to expand and diversify our footprint is just the latest sign of our strong momentum in this thriving moviegoing market,” said Rich Gelfond, CEO of IMAX. “HOYTS is an exceptional, well-established exhibitor in Australia and New Zealand, and we’re looking forward to getting back in business with the company to further satisfy surging demand for the IMAX Experience.”

The new HOYTS IMAX locations will install IMAX’s most advanced cinema experience branded “IMAX with Laser”. It promises 4K images, precision audio, and state-of-the-art projection technology. With the bespoke technology created by IMAX, the system features an industry-leading optical engine, custom-designed lenses, and proprietary IMAX technology which delivers brighter images, deeper contrast, and the widest range of available colours.

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Taryn Brumfitt and Dr Zali Yager tackle body image and health in influencer content

By Alisha Buaya

Patrick Whitnall: ‘This is an important topic for our members and both women have an unwavering commitment to body image advocacy, having successfully championed the cause both in Australia and overseas.’

Taryn Brumfitt, Australian of the Year 2023, and body image expert Dr Zali Yager will headline an upcoming webinar hosted by the Australian Influencer Marketing Council (AiMCO) on Tuesday, July 22.

The sessionInfluencing for Impact – Transforming Content Around Bodies, Food and Movement for Optimal Health and Wellbeing, will explore how influencers, brands, and agencies can create content about bodies, food, and movement that benefits audiences and businesses alike.

Brumfitt, founder of the Body Image Movement and director of the documentaries Embrace and Embrace Kids, will share insights from her global advocacy work.

She has delivered more than 200 keynote addresses, including at Google HQ in Silicon Valley, and her work has been recognised by global advocacy groups including UN Women, Amy Poehler’s Smart Girls and the Geena Davis Institute.

Dr Yager, an adjunct Associate Professor at Victoria University and co-leader of the #byebyeBMI campaign, will offer research-based strategies for content creation.

Dr Yager has a health and physical education background, having spent more than 20 years in research and teacher education. She is an adjunct Associate Professor at the Institute for Health and Sport at Victoria University and has published more than 60 research papers, presenting her work at respected institutions like Harvard University and Kings College in London.

She is now focused on research translation for health promotion – her work has already led to a successful nationwide curriculum change in Australian schools via the #byebyeBMI campaign.

Together, Brumfitt and Dr Yager will provide practical, science-backed advice on building engaging content, along with simple strategies to help participants build trust, boost engagement and lead the way forward for positive change for the national content creation industry.

AiMCO - Patrick Whitnall

Patrick Whitnall: ‘This is an opportunity for our members to gain strategic insights into how to create and deliver fashion, beauty, food and fitness content that doesn’t inadvertently increase the pressure people feel about their appearance.’

Patrick Whitnall, AiMCO Managing Director, said: “It is an honour to have Taryn and Zali – two powerhouses of body image positivity – for our next webinar. This is an important topic for our members and both women have an unwavering commitment to body image advocacy, having successfully championed the cause both in Australia and overseas.

“They are well-versed in what works to build better body image messaging online and are dedicated to continuing to lead the charge for positive change.

“This webinar is part of AiMCO’s commitment to be an industry-leading organisation when it comes to critical topics like body image and how it is portrayed online.

“This is an opportunity for our members to gain strategic insights into how to create and deliver fashion, beauty, food and fitness content that doesn’t inadvertently increase the pressure people feel about their appearance.”

The event is part of AiMCO’s ongoing program of webinars and in-person events for the influencer marketing industry. It is free for AiMCO members, with non-members also welcome.

Top image: Taryn Brumfitt and Dr Zali Yager

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Yango - Eb Yusuf
Yango launches 'blended content marketing' influencer services

By Alisha Buaya

Eb Yusuf: ‘Yango Creator embodies this ethos by connecting brands with the right creators to make sure they become prominent in their cultural worlds, fostering authentic engagement.’

Yango has launched Yango Creator, a new division that offers end-to-end influencer advertising services for brands.

The independent media agency’s new unit aims to help brands navigate the complex and rapidly evolving influencer landscape with unparalleled expertise and efficiency and provide a streamlined service designed to deliver results.

Eb Yusuf, who was recently appointed General Manager, Strategy, Culture & Insights, will oversee the new division. She said the integration ensures creator campaigns are measured and optimised alongside other media investments.

Yusuf said: “We’ve strategically placed creator marketing within our media remit. This integration ensures it works harmoniously with our overall media plans, optimising our ability to achieve critical KPIs.

“Furthermore, this structure enables us to apply our rigorous measurement framework, ensuring creator initiatives meet the same high standards as clients’ broader media investments.”

Yango Creator will manage influencer strategy, creator selection, content development, campaign execution, and performance reporting. It aims to integrate influencer marketing with broader media plans to help brands achieve key performance targets.

“Our philosophy at Yango has always been about putting people first – both our clients and their audiences – and driving measurable results,” said Yusuf.

“Yango Creator embodies this ethos by connecting brands with the right creators to make sure they become prominent in their cultural worlds, fostering authentic engagement that translates into real business growth.

“We call our approach ‘blended content marketing’ where we use SEO methods alongside more traditional social content methods to ensure brands are showing up on the algorithm. We believe this new division will set a new standard for influencer advertising in Australia and beyond.”

Yango Creator’s services include influencer strategy, creator vetting, content management, campaign amplification, measurement, and contract management.

Top image: Eb Yusuf

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David Arthur, Head of Talent at Amplify
Creators are going mainstream and their management needs to grow with them

By David Arthur

‘The best talent aren’t waiting for opportunities to land, they’re asking us to help them make it happen.’

You’d be hard-pressed to find a marketer who hasn’t worked with a creator by now. Whether it’s a TikTok partnership, a podcast read or a product drop on Instagram, creator-led campaigns have become an established part of the media mix.

But behind the scenes, something more significant is happening: creators are growing up – and so are their ambitions.

The most successful creators are no longer content with short-term campaigns and a crowded content calendar. They want careers that extend far beyond the feed and into what may be considered more traditional media.

They’re asking about everything from TV roles, podcast development, national tours, cookbook deals and acting classes. In other words, they want to break out beyond the ‘social’ tag and go mainstream – into more traditional and established forms of media.

The reasoning is quite simple – they want to become brands in their own right, like the established stars of stage and screen, and become known and loved by audiences outside of their social channels- and they’re seeking out management teams who can help them get there.

For those of us working in talent management this marks a fundamental shift in how we support this kind of talent. It’s no longer enough to simply secure brand partnerships or manage posting schedules.

To remain relevant, talent managers need to evolve from middlemen into multi-hyphenates: brand strategists, casting agents, business advisors and long-term creative partners.

In the past 12 months alone, we’ve had more creators than ever tell us exactly what they want in clearly defined terms. For many, cultivating a profitable online presence is just the start of their ambition to launch the rest of their career. For management, that means being able to manage both sides of the spectrum.

And why shouldn’t they want more? Today’s creators command real social currency with audiences most mainstream media operations struggle to connect to. In the same way people would follow an actor or presenter as they moved from show to show and channel to channel,their loyal, engaged audiences are primed to follow them into these other mediums in their millions. And in media, attracting good audiences has always been the aim of the game.

Many have more influence than some traditional celebrities precisely due to the personal, one-on-one-style relationships they build – and they’re smart enough to know it. The best talent aren’t waiting for opportunities to land, they’re asking us to help them make it happen.

That puts pressure on talent managers to expand their remit – fast. At the most basic level, it means being fluent in both digital and traditional media. Talent today might go from producing a skit for TikTok to sitting in a meeting with a TV executive or book publisher. Managers need to know how to navigate both worlds and be taken seriously in each.

In some ways, it’s a generational divide. Traditional talent agents are now scrambling to understand social media. But creator-first agencies are doing the opposite – bringing their fluency in digital into the world of TV, publishing, film and live entertainment. It’s not always a perfect fit and there is definitely work to do in bringing these worlds together, but it’s where the future is heading.

We’re already seeing the results. One of our creators is about to publish his first cookbook and another just wrapped a national comedy tour. We’ve had athletes cross over into commentary roles on broadcast, free-to-air TV and creators originally known only for social media are now auditioning for international film roles.

All of this has redefined what it means to manage creator talent. The job now goes well beyond landing a few paid posts. It means helping creators build a long-term career roadmap – one that reflects their ambitions, develops their personal brand and unlocks new audiences and revenue streams.

There’s a simple reason this matters for marketers: as creators move across platforms and formats, brands need management teams that can keep up. If a creator is acting in a film, launching a podcast and doing brand deals in between, aligning partnerships becomes more complex.

Managers who understand a creator’s business holistically can therefore help make those brand integrations smarter and more strategic.

That’s why the days of managing creators like a bolt-on service are over. If you’re not thinking about your talent’s business, brand and long-term vision, you’re not really managing them – you’re just sending emails.

As creators continue to evolve, so too must the people who support them. The question for agencies and marketers alike is simple: are you ready to grow with them?

Top image: David Arthur

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Daniel Copsey
Admosis founder Dan Copsey joins Willow & Blake as strategic partner

By Tom Gosby

Willow & Blake has sold a minority stake to Admosis founder Dan Copsey, with plans to expand its offering and geographic footprint.

Daniel Copsey, founder of Admosis and part of the TMSPC Group, has acquired a minority stake in Melbourne-based creative agency Willow & Blake, joining as a strategic partner to help scale the business in Australia and internationally.

Willow & Blake, founded by Jessica Hatzis and Bree Johnson, is best known for its branding and creative work across consumer brands, including its co-founding of skincare label frank body. The agency claims to have helped build over $1 billion worth of brands to date.

Jessica Hatzis and Bree Johnson

Jessica Hatzis and Bree Johnson

“This new partnership marks an exciting chapter of growth for Willow & Blake,” Hatzis and Johnson said in a joint statement. “Having Dan and his team come on board gives us the strategic support we need to take Willow to the next level.”

Copsey said the collaboration was “an exciting opportunity to create something truly special in the agency landscape.”

“Together, we will focus on delivering innovative solutions that drive real results for our clients,” he added.

While Hatzis and Johnson will retain majority ownership and continue to lead the agency’s strategic direction, the new investment will support a number of growth initiatives:

• Expansion of the senior strategy and design teams
• New service offerings, including a yet-to-be-announced venture
• Broader footprint across Australian and international markets
• Increased focus on brand evolutions and rebrands for consumer clients

Copsey’s portfolio spans advertising, hospitality, tech, and not-for-profit sectors. In 2024, he was named Australian Business-Person of the Year at the CUB Awards. Recent ventures include co-founding purpose-led recruiter The Good Crowd and music-tech platform Telemidi, alongside his acquisitions of Willow & Blake and Battery Services Australia.

The appointment reflects Willow & Blake’s ambitions to move beyond its creative roots into a more integrated strategic offering as it seeks to grow its client base both locally and abroad.

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Uncomfortable Growth® Uncut. Season 3, Episode 7 – Julia Zaetta

By Rowena Millward

“It takes a lifetime to know yourself and you get to learn new things all the time.”

In this tender and wide-ranging conversation, Julia Zaetta shares more than just her impressive career—she offers a heartfelt look at the personal journey behind it. As one of the longest-serving publishers in the industry, Julia reflects on what it means to truly love your work, and how that deep passion can sustain you through even the hardest of times.

Julia opens up about the profound loss of her mother and sister within just two years—a period that challenged her identity, financial security, and emotional resilience. She discusses how grief forced her to become almost robotic just to cope, and how she slowly began to rediscover herself through human connection and reflection. A key part of that rediscovery? Knowing what brings her joy.

Julia beautifully describes her connection to a little-known but deeply meaningful song—“Even When You’re Sleeping” by Leonardo’s Bride. Its acoustic simplicity and emotive lyrics mirror her own inner world, and it lives on repeat in her reflective playlists. For her, it’s not just a song—it’s a reminder of love, stillness, and presence.

The conversation dives into what it means to know your “best self,” and how recognizing what brings you joy—whether it’s people, creativity, music, or meaningful work—can pull you out of your “small self” during tough times. Julia’s love for being around people, her creativity in media, and her thoughtful parenting all reflect a life lived with intention and care.

From navigating hybrid work that challenges her extroverted nature, to grappling with the ongoing work of maintaining happiness and balance, Julia shares wisdom that’s as relatable as it is inspiring. Her story is a beautiful reminder that growth is often uncomfortable—but also full of clarity, connection, and quiet strength.

My three favourite quotes from Julia’s story are:

“If you don’t love it, learn to love it. Because you want to have that connection and that energy and that passion and that motivation that comes with loving what you do.”

“It takes a lifetime to know yourself and you get to learn new things all the time.”

“You need to make sure that connection with people continues to maintain your well-being.”

Tune in to hear Julia’s incredible journey and discover how you can embrace your own Uncomfortable Growth®:

The world doesn’t need more stories of success; it needs honest conversations about hard challenges, vulnerability, and proof that trials can ultimately become triumphs.

That’s why the Uncomfortable Growth® Uncut podcast was born. It’s a reminder that struggle and success are intrinsically linked, that growth is rarely easy, and that the moments we feel most uncomfortable are where our greatest breakthroughs lie

Learn more about Uncomfortable Growth® & Rowena here.

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Gravity Media
Production giant Gravity Media reveals unified global rebrand after EMG integration

By Tom Gosby

Gravity Media has unified its global operations under a single brand following the integration of EMG, consolidating its position as a major player in production and media services.

Gravity Media has officially launched as a unified global brand following the full integration of EMG, combining their capabilities in production, content, media services, and facilities under one banner.

The rebrand, revealed on Wednesday 16 July, marks a new chapter for the company as it consolidates its identity and expands its international presence. The merged entity now operates in 37 locations across 11 countries, employing more than 2,000 staff and managing over 100 OB trucks and 30 studios worldwide.

The Euros

The Gravity Media team in action at the UEFA EURO 2024 Championships

Speaking on the rebrand, John Newton, Executive Chairman and CEO of Gravity Media, said: “Once in the lifetime of a company like ours something big happens. For us, today, that is our transformation for the future and our coming together under one global brand that is Gravity Media.”

“Our look is new, but our commitment to our staff, our customers and, as always, to capture, craft and create the very best content remains the same.”

Brand strategy and market positioning

The newly consolidated Gravity Media brand aims to strengthen the company’s creative and facilities offerings, streamline client services, and accelerate global growth. It will also invest in innovation and talent to ensure top-tier production capabilities across sport, entertainment, and live events.

While the majority of operations will fall under the Gravity Media brand, several specialist sub-brands, including Boost Graphics, EMG, Gravity House, Livetools Technology, Origins Digital, Motionmakers, and Wall On Media, will continue to operate independently within the group.

“For those brands where there is more benefit to our clients to have them integrate into Gravity Media, they have done so. For those where the market needs them to remain as sub-brands, that will be the case,” Newton said. “The one thing our new Gravity Media brand does is guarantee our consistency of offering and communication across all the areas of our business.”

Global production powerhouse

Gravity Media’s services are used by top-tier federations, broadcasters and production houses around the world, including work on the UEFA EURO ChampionshipsFIFA World CupFormula EEnglish Premier LeagueTour de France, and Indian Premier League.

Its recent involvement in major events such as UEFA EURO 2024 and the Australian Open underscores its production credentials across both hemispheres.

Australian Open Tennis

The Gravity Media team in action at the Australian Open

Newton concluded: “The new Gravity Media global brand symbolises and crystallises who we are, collectively our many decades of experience and critically our path for the future. Now more than ever our clients across the globe can rest assured that we will push the boundaries of creative and technical excellence that will allow them to tell their incredible stories.”

Top image: John Newton

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delicious. and Harvey Norman mark 20 years of Produce Awards

By Natasha Lee

The event continues to champion sustainability, innovation and regional excellence.

The 2025 delicious. Harvey Norman Produce Awards will celebrate two decades of spotlighting Australia’s top producers, recognising the individuals and families behind some of the country’s best-loved ingredients and produce.

Now in its 20th year, the awards aim to honour the primary producers who grow, harvest, catch and cultivate the ingredients that appear on menus across Australia’s leading restaurants.

Organised by delicious. magazine and supported by Harvey Norman, the event continues to champion sustainability, innovation and regional excellence.

 

Supporting producers through recognition

delicious. Content Director Krysia Bonkowski said the awards continue to focus on the people behind the food.

“For two decades, the delicious. Harvey Norman Produce Awards have done what no other food industry awards program has done – acknowledge Australia’s finest producers; the quiet champions behind our leading chefs and restaurants,” she said.

“Our aim is to unearth the producers leading the way and driving progress. Despite the challenges facing their industry, these producers demonstrate their commitment to sustainability, quality and community in everything they do.”

Bonkowski also acknowledged the ongoing support from Harvey Norman, which has partnered with the awards for the past eight years.

“We are thankful to have a partner like Harvey Norman for eight consecutive years; their continued support and collaboration is integral. I also thank each of our judges for the time and commitment they dedicate to the awards each year, and congratulate all the finalists.”

delicious. Content Director Krysia Bonkowski

delicious. Content Director Krysia Bonkowski

 

Backing Australia’s producers

Harvey Norman Executive Chairman Gerry Harvey reiterated the company’s commitment to local food and farming industries.

“It is no secret that I am passionate about our Australian producers. They work tirelessly to improve the quality and variety of our food, farming in harmony with their environment – whether on the land, sea, rivers or lakes,” Harvey said.

“The 20th anniversary of delicious. Harvey Norman Produce Awards is a significant milestone, but a fraction of the time that has been involved in the combined contribution of our producers across the generations.”

Harvey Norman is proud to be the naming rights partner of these important awards and we are equally grateful to delicious. and the team of judges for identifying our extraordinary producers and shining a light on their exceptional products.”

 

National judging and event details

The 2025 judging panel includes several of Australia’s most respected chefs: Alex PrichardAlla Wolf-TaskerDanielle AlvarezJo BarrettKarena ArmstrongLennox HastieMatt MoranMatt Stone and Peter Gilmore.

This panel will determine the winners of the 2025 trophy categories, including the prestigious Producer of the Year award. Winners will be announced at a dedicated event at Bennelong in Sydney on Tuesday, 26 August.

The full list of winners will also be published in a special delicious. gloss lift-out, available nationally in The Daily Telegraph, Herald Sun, The Courier-Mail, and The Advertiser on Wednesday, 27 August.

Event partners include Crystalbrook Collection, Printhie Wines and Dinosaur Designs.

Keep on top of the most important media, marketing, and agency news each day with the Mediaweek Morning Report – delivered for free every morning to your inbox.

The Pistol - Jaime Nosworthy
The Pistol drives Liquor Legends' push into retail media

By Alisha Buaya

John Carmody: ‘With their retail media experience and our longstanding partnership, we’re confident this program will redefine how our supplier partners engage with customers across our network.’

The Pistol will lead strategy, go-to-market, enablement, and growth of the newly launched Liquor Legends Retail Media program.

The program is powered by retail media platform Zitcha and developed in-house by the independent full-service agency.

It aims to set a new benchmark in retail media through a focus on transparency, mutual benefit, and performance.

The Pistol has previously driven impact across complex, multi-market retail ecosystems, including powering global programs for brands such as AB InBev (Anheuser-Busch InBev) which underpins the rollout of a best-in-class program for Liquor Legends.

The strategy leverages first-party data and insights from business consultancy Summit Insights, enabling targeted messaging, predictive opportunity mapping, and omnichannel activation across ecommerce, in-store, and on-premises channels.

Liquor Legends has more than 350 outlets nationwide, including the Urban Cellars banner.

The group’s network spans retail, ecommerce, and licensed venues, offering opportunities for both endemic and non-endemic brands to connect with engaged consumers.

The Pistol has worked with Liquor Legends for more than five years on media strategy and technology consulting and the new role represents a step forward in building an integrated retail media ecosystem focused on measurable commercial outcomes.

“Retail media shouldn’t be a black box—it should be a growth engine that’s accessible, measurable, and mutually beneficial. That’s exactly what we’ve built with Liquor Legends,” said Jaime Nosworthy, CEO of The Pistol.

“This is retail media done differently—backed by deep data, enabled by proprietary technology, and proven through global experience.”

Liquor Legends CEO John Carmody said: “The Pistol has been an invaluable partner in our growth journey. Their depth in technology, data, and analytics has enabled us to launch a truly innovative retail media program that puts transparency and performance first.

“With their retail media experience and our longstanding partnership, we’re confident this program will redefine how our supplier partners engage with customers across our network.”

Top image: Jaime Nosworthy

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Legal

ABC under fire for leaving out Myf Warhurst’s role in fence feud story

Turns out that local fence dramas can spark national media storms, especially when one party is an ABC star.

As Steve Jackson writes in The AustralianMyf Warhurst, best known for her stint on Spicks and Specks, is smack in the middle of a neighbourhood stoush that made ABC headlines last year.

The issue? The broadcaster’s coverage didn’t mention that Warhurst was directly involved.

Read more

Journalism

REA CEO search tangled in power play between News Corp and REA board

The hunt for a new CEO at REA Group is getting messy, with internal tensions between News Corp heavyweights and the REA board slowing progress.

Owen Wilson is stepping down by the end of 2025, but, as Sam Buckingham-Jones reports in The Australian Financial Review, finding a successor to lead the realestate.com.au parent company, a crown jewel in the Murdoch empire, is proving less than straightforward.

Two frontrunners have emerged, but behind-the-scenes power struggles are reportedly stalling the final call.

Read more

Streaming

YouTube pulls ahead as Netflix rivalry hits the big screen

The streaming wars aren’t just about subscribers anymore, they’re about screen time.

And, as John Koblin details in The Australian Financial Review, in this next chapter, it’s not Disney or Prime Video that Netflix’s watching most closely. It’s YouTube, which has quietly but firmly claimed the top spot in US TV viewing hours.

Netflix once brushed off competition as anything from sleep to socialising. But with YouTube now commanding 12.5 per cent of total US television time compared to Netflix’s 7.5 per cent (per Nielsen’s May numbers), the narrative has shifted.

Read more

ABC signals end of satellite era for older Foxtel boxes

The ABC is pulling the plug on its satellite broadcasts to older Foxtel set-top boxes from 22 July 2025, cutting off access to its suite of channels for anyone still using legacy hardware.

As Kevin Perry writes in TV Blackbox, that includes ABC TV, ABC Kids, ABC NEWS, ABC Entertains and ABC Family.

Foxtel customers with ageing boxes like the iQ, iQ2, Mystar, and standard models will need to upgrade to the newer iQ4 or iQ5 if they want to keep watching the national broadcaster via satellite.

Read more

Warner Bros leans into local despite content quota limbo

Warner Bros Discovery is gearing up to beef up its Aussie content slate for HBO Max, even as the government’s long-flagged local content quotas remain stuck in the slow lane.

According to John Buckley in Capital Brief, the streamer only hit the Australian market in March, but WBD says it’s keen to bring more homegrown titles to its platform.

While the company stayed tight-lipped on Labor’s proposed local content investment rules, which are expected to apply to global giants like Netflix, Disney and Amazon, it made clear that more Australian programming is coming, regardless of regulation.

Read more

AI

Meta pushes back on privacy reforms over AI training limits

Meta has issued a pointed warning to the Albanese government, arguing that tightening privacy laws could undercut its efforts to build AI that mimics how Aussies actually speak.

In a submission to the Productivity Commission, the tech giant said it needs access to real user data from platforms like Facebook, Instagram and WhatsApp to train its AI tools with the nuance of local conversation.

As Noah Yim writes in The Australian, the company claimed that without this kind of data, which often includes personal information, it won’t be able to create AI that feels truly human or relevant to Australian users.

It dismissed the usefulness of cleaner data sets like legal texts, saying they’re too limited for building meaningful, responsive products.

Read more

Radio

Ben Lee says Triple J should split the Hottest 100 in two

Ben Lee has thrown a playful but pointed grenade into the Aussie music debate, suggesting Triple J should hand its beloved Hottest 100 countdown to commercial radio giants Kyle and Jackie O, and instead focus solely on celebrating Australian music.

As Thomas Mitchell writes in The Sydney Morning Herald, Lee, who knows the power of a well-timed countdown hit (he placed second twice, in 1998 and 2005), posted his bold pitch to Instagram this week.

He wants the Hottest 100 to be Australia-only from now on, arguing that with global streaming giants everywhere, local artists need more dedicated platforms, not fewer.

Read more

It just feels strange – it’s eerily quiet’: Radio insider on Dave Cameron’s SCA exit

The exit earlier this week of Southern Cross Austereo’s (SCA) Chief Content Officer Dave Cameron has left radio industry talking.

Since the announcement, there’s been radio silence from the broadcaster, a move former content director Irene Hulme told Mediaweek she found “really strange”.

On the most recent Game Changers podcast, Hulme’s co-host, programmer and Cameron’s former boss, Craig Bruce added: “You do not leave this role without being gently pushed. It just doesn’t happen.”

Read more

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