Australians viewed more than 16 billion minutes of broadcast content each week in the first half of 2025, according to new Virtual Australia (VOZ) data from OzTAM.

The new research found that 88% of Australians engaged with broadcast TV or BVOD monthly as part of the bi-annual VOZ Total TV Viewing Report. It analyses the billions of minutes viewed across broadcast TV and BVOD and presents topline trends for industry use.

 VOZ is Australia’s official ‘Total TV’ measurement standard, unifying broadcast TV and BVOD viewing into a single, de-duplicated, cross-platform database. It covers the Australian networks ABC, Seven, Nine, 10 and SBS, their regional affiliates and BVOD services nationally.

This is separate to OzTAM’s new Streamscape^TM report, which incorporates subscription video-on-demand (SVOD) and advertising supported video-on-demand (AVOD) viewing.

OzTAM CEO, Karen Halligan, said: “This report showcases not only the strength and continued evolution of television as a platform, but also the depth of data available within our VOZ database.

“For our time-stretched industry, having key trends readily accessible from a robust and credible source is central to OzTAM’s role in supporting the market, and we look forward to delivering this report each half-year.”

In the last report, published in February 2025, the report showed Australians watched an average of 15.704 billion minutes of broadcast content per week, with BVOD used for about 12% of that total. This report shows weekly viewing minutes have increased, BVOD’s share seems larger, and the reach of BVOD‐exclusive viewing has increased especially among younger audiences.

Commercial Radio & Audio (CRA) and Triton Digital have released the August Australian Podcast Ranker, and the numbers point to two clear trends: Hamish and Andy remain on top, and Australians are tuning into news podcasts in big numbers.

Hamish and Andy drew in 855,315 listeners across August. While plenty of competitors have tried to take the crown, the duo’s blend of humour, nostalgia and sheer consistency continues to deliver the biggest audience in the country.

Grant Tothill, Executive Head LiSTNR Operations and Audience, said the pair’s continued reign is “a testament to their consistency and connection with audiences.”

News in focus

Two of the top five podcasts were news programs, reflecting growing demand for rolling updates in audio form.

ABC News Top Stories landed at #2 with 821,367 listens, while Sky News Australia Update moved up one spot to #4 with 466,847 listens.

CRA CEO Lizzie Young said the ranker’s strength is in linking listening habits to consumer influence: “The Australian Podcast Ranker doesn’t just measure audiences – it identifies the communities that directly influence consumer decisions, providing advertisers with insights to turn listeners into loyal customers.”

How radio shows fared

For radio programs distributing content on-demand, the results were mixed.

The Kyle & Jackie O Show – despite cementing their position as Sydney’s breakfast radio leaders – slid seven places in the podcast ranker, landing at #14 with 333,362 monthly listeners.

In contrast, SEN Breakfast, hosted by Garry Lyon, Tim Watson, Kane Cornes and David King, jumped six places to #13 with 342,818 listeners, making it the strongest-performing radio show in podcast form for the month.

When broadcast wins don’t translate

The ranker also exposed the challenges of converting linear radio success into podcast downloads.

Triple M’s Lou & Jarch recently delivered a standout result in radio ratings, topping the 2pm–4pm slot in Sydney with a 10.4% share – the station’s best in that timeslot since 2018.

But in the podcast charts, the duo placed at just #236 with 27,519 listeners. It’s a curious gap that shows success in live listening doesn’t always carry over into on-demand. (And for the record, this writer counts among those 27,519.)

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YouTube continues its dominance in the streaming video space. Overnight, it held its significant lead in the latest release of Nielsen’s The Gauge – a monthly report showing US streaming video usage with 13.1% of all viewing done on YouTube (the second place again went to Netflix with 8.7% of viewership.

It also announced some major upgrades to its platform at the annual Made On YouTube event. Held at Pier 57 in New York City, YouTube executives were joined on stage by leading platform creators BrandonB, Lana’s Life, Ashley Alexander, Mark Rober, Christen Dominique, and Katarina Mogus. And it wouldn’t be a YouTube event without a huge musical act – Dua Lipa took to the stage.

YouTube reports that it has paid creators over $100 billion over the past four years and used the event to announce new tools that would help drive further monetisation for both creators and advertisers on the platform. Increasingly, creators are being given tools that will help videos rival the TV experience in the connected TV space.

The big announcement for creators was the announcement of likeness detection tools, which will enable creators to detect, manage, and request the removal of unauthorised videos made with your facial likeness. In an era of tremendous AI video capability, the tools are necessary for creators to safeguard their identity on platform and retain audience trust. It is currently in an open beta to all YouTube Partner Program creators.

It’s now easier to go live

The live viewing experience is becoming more core to the YouTube experience. The company reports that, on average, over 30% of daily logged-in users watched live content on the platform during Q2 2025.

New tools have been announced to help creators get online to stream live.

• To encourage reluctant streamers to try live streaming, YouTube now lets users practice with its tools before pressing the button to go live. Previously users had to go live and hope for the best.
• Any creator watching a live stream can then create their own vertical livestream which allows them to react in real time to the initial livestream with their own commentary. As YouTube pushes further into sports content, this seems like a perfect way for fans to provide their own bespoke complimentary content.
• Creators can create ready-to-share shorts out of live streamed content automatically.
• Playables on Live was launched last year and brings a Twich-like live gaming experience to YouTube with a library of 75 games that creators can play while interacting with their audience through chat. And, of course, monetise the stream.
• Mid-live stream, creators will be able to transition from public to members-only livestreams, without disruption.
• Creators will be able to live stream in both horizontal and vertical formats simultaneously.
• Live streamers will be able to run side-by-side ads to ensure limited disruption from their live content.

Shorts are getting more creative

The wildest announcement was Speech to Song – a remixing tool that will take spoken dialogue and turn them into soundtracks. YouTube will use SynthID watermarks and label the videos to inform users that the videos were AI generated.

Further tools include:

• Lip-sync technology is improved, with translated videos now matching speakers lips. 20 different languages are supported with user testing starting in the coming months.
• Google DeepMind’s Veo 3 video generation model is coming to YouTube with a custom version created for use in YouTube Shorts. It creates outputs with lower latency at 480p, allowing creators to create clips with sound from their phone. The functionality is out now in Australia, New Zealand, the US, UK, and Canada.
• Further Veo integration into Shorts will bring capability including bringing photos to life by applying motion from another video, video stylisation, and the addition of opjects to video.
• Video titles can now be A/B tested.

Brand partnerships are making YouTube shoppable

There were a number of tools announced that were aimed squarely at improving monetisation.

• In a huge game-changer, brand segments can can now be dynamically inserted into long-form videos. This lets creators remove sponsorship from videos once a campaign or deal has ended, resell slots to other brands, or even sell the same slot to multiple brands in different markets. This feature isn’t yet live, but will go into testing with users early next year.
• YouTube Shorts users will be able to add a link to a brand’s site specifically for brand deals.
• The introduction of a creator partnerships hub within Google Ads to help advertisers and agencies find and connect with creators. Using AI, YouTube says it will soon be able to suggest creators who may be a good fit for brands.
• YouTube will use AI to identify moments for product mentions and automatically display the product tag at that time.

After parting ways with commercial radio earlier this year, Mitch Churi hasn’t wasted time figuring out his next move.

Instead, the award-winning broadcaster is stepping into podcasting with The Mitch Churi Chat Show, launching September 10 in partnership with Acast.

Framed as a modern twist on the late-night format, the podcast will deliver long-form, unfiltered conversations with high-profile guests, plus commentary on the week’s biggest pop culture stories.

Full episodes will be available on YouTube and audio platforms, with shorter highlights packaged for TikTok and Instagram Reels.

Speaking on Mediaweek’s Newsmakers podcast, Churi looked back on how he first found his way into KIIS FM, the unlikely “chicken” moment that got him noticed by Kyle and Jackie O, and how he has rebuilt after leaving the Australian Radio Network.

From New York to the KIIS street team

Before he was on air, Churi was studying theatre and improv in New York.

“So I was living in New York at 19 and I was studying theater and improv comedy. I was doing classes at the Groundlings and the Upright Citizens Brigade Theater, and I thought, I’m gonna be a comedian, I’m gonna be an actor, and I need to come back home and save up and get some cash,” he recalled.

When he returned to Sydney, a friend suggested he’d be a good fit for the KIIS street team. He said radio was always in the back of his mind as a fallback, even though he had no clear path into the industry. That entry-level job soon opened unexpected doors.

Churi explained that he’d started recording himself on Snapchat while driving the KIIS Jeeps and handing out drinks at promotions.

“Content has changed so much, and I’m gonna show my age, but Snapchat was big. Snapchat stories were the only place. Instagram didn’t have stories, it was just posting photos with a funny filter,” he said.

It was one of those Snapchat clips that caught the attention of Derek Bargwanna, the KIIS content boss. “I get back to the station and someone says, DB wants to meet you. I go, what is a DB and how is he seeing my Snapchat? They said, no, he runs the station. If he calls you into a meeting, it’s bad.”

The chicken test with Kyle and Jackie O

That meeting turned out to be the start of his on-air career. Bargwanna brought him upstairs to meet Kyle and Jackie O just after their breakfast show had finished.

“DB goes, ‘Oh, I hear you think you’re pretty funny.’ I said I’d studied improv and comedy, and he just cut me off: ‘Be a chicken. Be a rooster,’” Churi said.

“So in front of Kyle and Jackie O, never met them before, I squat to my knees, arms behind me, and I cluck. It was like a hazing ritual, and they laughed. Then they went back to their discussion. I just sat there until a producer said, ‘You need to go now, honey.’”

A week later, Churi received an email confirming his new role on the show. “You’re the cash cock. They want you for this segment on the Kyle and Jackie O Show,” the note read.

For Churi, the moment underscored the unique energy of the building. He described KIIS as his version of Saturday Night Live, a place where he built characters, pushed for airtime, and learned to grab opportunities.

Moving on from KIIS

Years later, Churi was hosting The Night Show With Mitch Churi and The 3PM Pick-Up when he was let go in a restructure at ARN. He says the decision came as a shock.

“Bad blood, no hard feelings. You can’t – there are people in this industry, in every industry, who harbour resentment over something that happened to them years ago. I don’t want to be that person,” he said.

He pointed to advice he picked up early in his career: “You’re only as good as your next show. I subscribe to that in life. I want to be held to what I make now, not what happened in the past. But it was shocking. I didn’t expect it. My team didn’t expect it. Only a select few in the company knew it was coming.”

A chat show for the internet age

That setback has since cleared the way for his new venture. Partnering with Acast, The Mitch Churi Chat Show is designed as a late-night talk format for the internet age, blending celebrity interviews, pop culture commentary and social-first content.

Across his career, Churi has attracted more than 220 million views online for his interviews, while also winning Best Music Presenter at the 2022 Australian Commercial Radio and Audio Awards.

With the new project, he’s aiming to create a show that blends the tradition of late-night chat with the reach of digital platforms.

You can hear Churi reflect on his early years in radio and the launch of his new podcast in the latest episode of Mediaweek’s Newsmakers.

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Full-service marketing agency The Pistol has appointed Chloe Lane as its new CEO, marking the beginning of the next chapter for the independent agency.

Lane steps into the role as long-time CEO Jaime Nosworthy announces her resignation after a decade in the position.

Nosworthy will remain with the agency over the coming months to work closely with Lane and ensure a smooth transition.

A seasoned transformation leader, Lane brings more than 20 years of experience across agency, client-side, and tech businesses in both the Australian and global markets.

Her career includes senior leadership roles at Genero, Woolworths Group, and Hogarth (WPP), where she was instrumental in evolving marketing models, scaling operations, and driving growth.

Nosworthy reflected on her time leading the agency and the timing of the leadership change. She said: “The Pistol is ready to enter its next chapter, building on the incredible success over the last 14 years.

“I am so grateful for my 10-year journey in this business, working and collaborating with world-class talent and client partners.”

On Lane’s appointment, Nosworthy added: “I am thrilled to hand the reins to Chloe. She has decades of experience leading meaningful strategic shifts while maintaining a people-led approach.

“Our transition will be careful and collaborative to ensure we maintain the great momentum we have experienced in 2025 so far.”

Main pic: Jaime Nosworthy and Chloe Lane.

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Independent full-service creative agency The Do Collective has announced a major rebrand, unveiling its new identity as Those That Do.

The new name reflects the agency’s shift from a small collective of thinkers into a multi-market creative business focused on brand platforms, experiences, activations and capability training. With offices in Sydney, Melbourne, London and Dubai, the agency partners with marketers to create “meaningful momentum” for brands.

Those That Do will continue to be led by its executive team: Founder and Director Ben Walker, Managing Director Nathan Quailey, Head of Strategy John Schonegevel, Head of Experiential Corey Clarke, and Client Partner Yvette Harapa. In Dubai, General Manager Ginny Jackson will remain at the helm of the agency’s Middle East operations.

Walker said the new identity responds to growing client demand for more immediacy, bravery and tangible outcomes in campaigns. “Since our inception, we’ve become known for helping brands walk the talk. This is not about being louder, but being clearer, ensuring every client, collaborator and team member knows exactly what we stand for,” he said. “We’re not just building brands, we’re doing work that is building our clients’ businesses by bringing them to life.”

Founded in 2022, Those That Do is one of Australia’s fastest-growing independent creative agencies, working with brands including Maxwell & Williams, QV Skincare, KFC, Bluescope, Bumble and Clipsal. Earlier this year, it expanded into Dubai with new clients such as African+Eastern, cashback platform Mimojo, Drink Dry and Ego Pharmaceuticals Middle East.

Top image: Those That Do executive team

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After more than four decades of letting Tasmanian’s know wether they’ll need to wear two jackets or one for the next day, 7NEWS Tamania’s weather presenter, Peter ‘Murph’ Murphy, is preparing to deliver his final forecast.

On Monday, 22 September, Murphy will step away from the green screen, ending a run that makes him Australia’s longest-serving commercial TV weatherman.

Murphy’s Tasmanian journey began in radio at 7EX in 1982 before moving into television two years later at TNT9.

Since then, his calm delivery, clear explanations and trademark humour have made him a nightly fixture.

He’s spent 41 years helping Tasmanians navigate the island’s famously unpredictable conditions, while also building a strong on-air rapport with anchor Kim Millar.

Alongside his TV work, Murph has been a familiar face at community events across the state, from Cup day luncheons to New Year’s Eve celebrations.

Looking back, Murphy said: “It’s been an incredible privilege to be part of Tasmanians’ lives every night. Weather is such a big part of this community, and I’ve always tried to respect that while sneaking in a little fun along the way. Tasmania’s weather is unpredictable, the job has been unforgettable and the people have made it all worthwhile.”

He joked: “An award of some sort should also be bestowed upon Kim Millar and Jo Palmer for their ability to have withstood so much over the years. My wife Donna, of course, has been along for the entire period as well and no doubt is looking forward to spending every waking moment of every day with me from now on.”

A legacy in regional television

Seven Tasmania’s Director of News Gavin McDougall said Murphy’s place in television history is undeniable.

“Peter Murphy is more than a weather presenter – he’s part of the fabric of Tasmanian life. His commitment, professionalism and connection with viewers have set an extremely high standard. His departure marks the end of an incredible chapter in our television history. Peter leaves behind a remarkable legacy in regional television – one of consistency, credibility, and community connection.”

The next chapter

Murphy’s successor will be weekend weather presenter Kiah Wicks, who will step into the weekday role.

“This has been a dream of mine since I was a girl. I am so excited to be joining Kim Millar and the rest of the weekday team. It’s hard to replace the legend that is Murph, but I’ll be bringing my own brand of weather smarts to the job,” she said.

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US President Donald Trump has launched fresh legal action, filing a $15 billion lawsuit against the New York Times for defamation and libel.

In a social media post late on Monday, Trump accused the paper of a “decades long method of lying about your Favorite President (ME!), my family, business, the America First Movement, MAGA, and our Nation as a whole.”

He also singled out the Times’ endorsement of Kamala Harris during the 2024 presidential election, claiming it had become a “virtual ‘mouthpiece’ for the Radical Left Democrat Party.”

The lawsuit was filed in Florida, though the New York Times has not yet publicly responded.

Not Trump’s first legal battle with media

This is not the first time Trump has taken media organisations to court. In December last year, ABC settled for $15 million after Good Morning America anchor George Stephanopoulos incorrectly said Trump had been found civilly liable for raping writer E Jean Carroll.

The settlement also included $1 million in legal fees.

More recently, Paramount agreed to pay $16 million to settle a dispute over an interview with Kamala Harris on the US edition of 60 Minutes.

Trump alleged the segment was edited in a way that harmed his re-election campaign. Paramount did not issue an apology but committed to releasing transcripts of future 60 Minutes interviews with presidential candidates.

The Paramount case sparked internal tensions, with Executive Producer Bill Owens resigning earlier this year.

On air, presenter Scott Pelley told viewers: “None of our stories has been blocked. But Bill felt he lost the independence that honest journalism requires. No one here is happy about it. But in resigning, Bill proved he was the right person to lead 60 Minutes all along.”

Analysts have suggested Paramount’s decision to settle may have been linked to its merger plans with Skydance, which required regulatory approval from the Trump-controlled Federal Communications Commission.

Paramount said in a statement: “Paramount has reached an agreement in principle to resolve the lawsuit filed by President Trump and Representative Jackson in the Northern District of Texas and a threatened defamation action concerning a separate 60 Minutes report.”

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Oporto has launched a new late-night menu and brand platform, ‘Night Mode’, marking the first campaign from newly appointed social and influencer agency a.glo.

Available from 9pm until late at select stores nationally, the menu includes items such as Pulled Flame-Grilled Chicken Loaded Chips, BBQ Crispy Wings, Jalapeño Poppers and the Schnitt Faced Burger. The campaign targets Gen Z audiences — including students, gamers, and gig economy workers — who drive peak ordering between 10pm and 2am.

Drawing on Portugal’s culture of after-dark dining, the campaign seeks to destigmatise late-night eating and position it as a joyful, social ritual. Research cited in the campaign notes that night-time eating can be seen as isolating or shameful, a perception the brand is keen to flip.

“Late-night food is embedded in Portuguese culture, and it’s how many of our customers eat today,” said Ben Simmons, Head of Marketing at Oporto. “This campaign makes Oporto part of those late-night moments in a way that’s authentic to our brand.”

‘Night Mode’ also includes a full brand transformation after dark. Oporto’s traditional sun logo is replaced with a moon across its digital platforms and in-app experience. The change was physically reinforced in-store during August’s full moon, aligning the brand with nocturnal habits.

Developed by a.glo, the social and influencer SBU of the Connecting Plots Group, the campaign features targeted creator content and paid media across Meta and Twitch. Videos highlight “Night Mode” personas such as party-goers, night shift workers and students studying late, each linked to specific menu items.

“Our partnership with Oporto is about delivering brave, culturally sharp, creative work that earns its place in people’s lives and social feeds,” said Kent Pearson, Managing Partner, a.glo. “Late Night sets the tone for what’s next. We’re just getting started.”

Oporto appointed a.glo following a competitive pitch in April. The remit includes always-on social and influencer activity, with earned media led by CPPR, the new PR arm of Connecting Plots. Previous brand moments from the group include campaigns for Dia de Portugal, City2Surf, and Portuguese BBQ Basting.

Creative credits include Dave Jansen (Chief Creative Officer), Lisa Jackson (Senior Copywriter), and Blair Palmer (Design Director). Media was handled by Atomic 212°.

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Paramount+ has confirmed the return date for NCIS: Sydney, with the show set to return for a third season premiering on Tuesday 14 October.

After last season’s crocodile-filled Northern Territory adventure, the team is back in Sydney – only this time the biggest threats may come from their own pasts.

Blue (Mavournee Hazel) finds herself hunted by those she once called “family”, uncovering a hidden agenda in the process. DeShawn (Sean Sagar) faces consequences of his own, admitting he buried evidence during a court-martial to protect someone close to him.

Elsewhere, JD (Todd Lasance) confronts the fallout of a decision that could cost him both his relationship and his team, while Evie (Tuuli Narkle) takes tentative steps into something new. Doc Roy (William McInnes) must ask himself whether it’s finally time to let go.

The new season promises cases that move well beyond Sydney Harbour.

Storylines include an outback alien abduction, a nano-tech assassin, a cold case made famous by a podcast, a mission to Antarctica, a treasure hunt, and an international conspiracy tied to Mackey (Olivia Swann).

Claude Jabbour joins as a recurring guest across the season, while the line-up of special appearances includes Doris Younane, Simone Kessell, Fayssal Bazzi, Stephen Peacocke, Lincoln Lewis and Anthony Hayes.

Season three continues to blend the procedural beats of the NCIS franchise with local settings and characters, positioning the Sydney instalment as one of Paramount+ Australia’s marquee titles.

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Sky News Australia will air a new three-part documentary series, Australia: A History, presented by former Prime Minister Tony Abbott.

Premiering Monday 13 October at 7.30pm, the series charts the nation’s story from its Indigenous beginnings to its development as a modern democracy.

The program traces Australia’s history across three episodes, covering events from the First Fleet to the gold rush, the wool boom, and the migration waves of the 20th century.

It examines how economic, cultural, and political milestones shaped the country’s trajectory.

Abbott travels from Arnhem Land to Sydney Cove and beyond, considering how stories of resilience, reform, and migration continue to influence national identity.

Along the way, Australians from diverse backgrounds share personal accounts of their own histories and those of their ancestors.

Contributors and perspectives

The series features interviews with a wide range of public figures and experts, including Governor General Sam Mostyn, former Prime Minister John Howard, Olympic champion and former Senator Nova Peris, former Governor General Sir Peter Cosgrove, entrepreneur Anthony Pratt, Independent MP Dai Le, and author Li Cunxin.

Military historian Peter Brune, former NRL player Nathan Blacklock, and descendants of the First Fleet also contribute.

Abbott said: “It was hardly an auspicious beginning but Australia has developed from convict dumping ground to a nation that’s the envy of the earth. The better we know our national story, the more surely we’ll keep it that way.”

Sky News Australia CEO Paul Whittaker described the series as “an important and timely account of the extraordinary moments that have shaped our nation.

“While our history is complex, reflecting our Indigenous heritage, British foundation and immigrant character, it’s important that our nation’s struggles and imperfections, endeavours and triumphs continue to be shared to remind all Australians that it is this single unifying story that connects us all.”

The series is inspired by Abbott’s book Australia: A History, published by HarperCollins. It is supported by The Institute of Public Affairs.

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Jack Daniel’s has launched a new Father’s Day campaign for its Gentleman Jack Tennessee Whiskey, swapping out traditional advertising talent for real dads and brand loyalists.

Developed by earned-first creative agency We Are Different, the initiative centres on “Dad Ads”, a mix of user-generated and influencer-driven content showcasing Jack Daniel’s community of 80,000 subscribers. Everyday fathers were cast as Gentleman Jack ambassadors, supported by influencer content and consumer activations designed to spark online engagement.

Within the first month, the campaign delivered 9.1 million organic and paid reach, while boosting key performance metrics: video view rates rose by 1,588 per cent, ThruPlays increased 723 per cent, and engagement climbed 1,316 per cent.

Richard Dredge, Senior Brand Manager at Brown-Forman, said the campaign tapped into the brand’s existing audience: “Since 1866, Jack Daniel’s has been making friends all over the world. That’s why Gentleman Jack Tennessee Whiskey is best championed by the people who already love it most. Our Dads Ads campaign harnesses the strength of community, tapping into user-generated and creator-driven content to spark engagement and authentic brand advocacy online. Preliminary results have smashed both reach and engagement benchmarks, a clear sign that a different strategic and creative approach to influencer is working for our brand.”

Stuart Terry, Founder and Director at We Are Different, said the strategy reflected a broader shift in marketing: “The rise of peer-to-peer marketing has transformed brand interactions, making word-of-mouth and customer advocacy the selling style people actually seek out versus having to be broadcast to. We’re so proud of our partnership with Jack Daniel’s and the wider Brown-Forman team – working together to deliver thumb-stopping creative that drives meaningful engagement online. The results speak for themselves.”

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