New Zealand’s latest tourism campaign has sparked widespread ridicule, with critics likening its slogan “Everyone Must Go!” to a clearance sale advertisement rather than an invitation to explore the country’s breathtaking landscapes.

Launched by Prime Minister Christopher Luxon on Sunday, the NZ$500,000 ($286,000) marketing initiative aims to boost Australian visitor numbers in an effort to reignite the tourism sector and drive economic recovery. Currently, Australian visitor figures sit at 88% of 2019 levels, following a slow post-pandemic rebound.

Tourism Minister Louise Upston defended the campaign, stating: “What this Tourism New Zealand campaign says to our Aussie mates is that we’re open for business, there are some great deals on, and we’d love to see you soon.”

However, opposition figures and the public have been less than enthusiastic. Labour’s tourism spokesperson Cushla Tangaere-Manuel expressed concerns about the country’s fragile tourism infrastructure, warning that an increase in visitors could overwhelm services without further government investment. Meanwhile, the Green Party’s Celia Wade-Brown criticised the use of funds from New Zealand’s tourist tax for marketing purposes rather than conservation efforts.

Manuel told Radio NZ that “it makes New Zealand sound like we’re in a clearance bin at a sale”.

Social media reactions have also taken a sharp turn, with users drawing unintended parallels between the slogan and New Zealand’s record-high emigration numbers in 2024. Labour MP Barbara Edmonds wrote on social media platform, X: “New Zealanders are voting with their feet, leaving in record high numbers, just as the Govt begins focusing on marketing to Australians.”

Other Kiwis across social media claim the slogan better describes the exodus of their own residents. A record number of people, 72,000, left the country in 2024, according to Stats NZ. “Everyone is going … to Australia,” one person wrote on the PM’s Instagram announcement.

Despite the backlash, the New Zealand government remains focused on reviving its vital tourism sector, which accounted for nearly 7% of the workforce in 2023. In a further push to attract overseas visitors, the government recently relaxed visa restrictions, allowing tourists to work remotely while staying in the country.

Luxon remains undeterred, urging Australians to make the trip across the ditch. “It’s time to swap the thongs for the jandals, the Hunter Valley for the Hawke’s Bay, and get the bloody hell over here,” he said.

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When Kirsten Galliott‘s team at Medium Rare won Best Use Of Monetised Content at the International Content Marketing Awards 2024 for their premium Qantas content ecosystem, it was further proof of their unparalleled success.

As Head of Content, Travel & Business (also working across CommBank and the Australian Studio of Company Directors), Galliott has worked on the Medium Rare Qantas account for nearly ten years, turning an inflight magazine and blog into a strategic network of content channels and platforms, including an app.

“We have 14.3 million brand connections every year,” says Galliott. “So we have the print magazine, Travel Insider website, social channels, events, and a very robust EDM program.”

But how has Galliott arrived at this point and how did she create such an award-winning strategy that is clearly reaping rewards?

“I’ve always worked in consumer media,” she says. “I started my career at Who Weekly when it was a black and white magazine and an amazing mix of celebrity, human interest, crime and very different to anything else out there.

“After that, I pretty much stayed in magazines and edited B before I went to the Herald, where I stayed for nearly ten years. I edited Sunday Life and The Sydney Magazine, and then I went to InStyle and edited that for a couple of years.

But Galliott could see the audience decline in magazines and so she looked around for her next move.

“I could see what was happening, and budgets were being heavily constricted,” she says. ” After a while I felt that there was a real opportunity with brands who had these incredible audiences, but needed the right content via a different type of distribution model.”

As a result, she moved to Medium Rare and used her consumer media approach in the world of content marketing for Qantas, becoming the Editor-in-chief of the magazine.

“Everything we do with our content is audience-led and the magazine and website should sit as products in their own right,” she says. “And then we work really closely with Qantas to try and overlay their marketing priorities.

‘Last year we had our biggest readership ever’

“Qantas has more than 28 million passengers every month, and obviously we can’t appeal to all of them, so what we really try to do is make sure we’re talking to that affluent end of the plane.

“Last year, we had our biggest readership ever with, on average, 537,000 readers a month, which was a 19.4 per cent up year-on-year.”

“What’s been really pleasing is we’ve seen really big growth in that Platinum and Gold Frequent Flyer group,” says Galliott. “We know that they’re well-travelled, really interested in business and love to know about design.

“We make sure we’re creating content that speaks to their needs – mostly for travel, but we have a lot of data about our audience from different platforms – so we can cater very well for them.”

This data insight means Galliott and her team, including Genevra Leek Editor-in-Chief of Qantas Magazine & Travel Insider, can target their content in a very specific manner across all platforms.

“We use digital insights to enhance print as well,” said Galliott. “For example, we’ve really seen the role of Travel Insider change in the past year. It’s not about inspiration for destinations like it was before Covid. Now, we see people coming to us to look at and book specific accommodation.

“Booking accomodation via Travel Insider has gone up 105%, as people book incredible places to stay.

“As a result we’ve developed a franchise in print called Epic Stays, which is all about places to stay all over the world, so we are very deliberately targeting that travel trend.”

Now, the path to purchase has never been easier, by adding flight, hotel and holiday widgets to content so that users can engage directly with a story and click through to to book, in a seamless example of performance marketing driving action.

“Obviously we learn from Qantas and make sure we’re supporting their root priorities, and that we work closely with their partners,” adds Galliott.

“We know what their loyalty program is doing as well, so there is a real mix of data. We’re creating content and we’re very pointed in how we overlay marketing priorities with that content so that everything ladders back to insights.

“Of course, with magazines there is always a little bit of magic, there has to be. You have to give people what they didn’t know they wanted, but from a Travel Insider perspective we’re just really honing in on data to make sure we’re delivering what people want, at the right time.

As way of an example Galliott cites a recent initiative with two tourism bodies that have driven success.

“This is where we work really hand in glove with Qantas,” she says. “They have Memorandums of Understanding (MOUs) with particular tourism bodies, whether they’re international, like Destination Canada or local, like Tourism Tasmania.

“We do really evocative, beautiful content supporting what they’re doing, and that content really drives bookings. So one of the things that we offer tourism partners, that we don’t offer anyone else are solus EDMS.

“We’ve seen in the past year those solus EDMS give an increase of 10 per cent of visitors clicking through to Travel Insider, and then there is a 5 per cent uplift in users clicking through to book flights on qantas.com so that’s very intentional content to drive a result.”

‘We do not create once, publish everywhere’

“We work very closely with Medium Rare’s branded content studio, Rare Creative run by Paulette Parisi, and she’s been really instrumental in driving those tourism partnerships which are gold.”

When asked how Galliott and Medium Rare measure success with their Qantas account, Galliott reveals it’s multi-tiered.

“Obviously there’s advertising revenue. Then on the website, we’re looking at engagement – page views, time on site, unique visits.

“We look at our events and sponsorship. Also, our click-through rate on EDMS, plus our engagement rate on social.

“These are all the same metrics we would use in consumer publishing and that’s what we report back to Qantas.

“I guess the difference is that we also now report back on the direct bookings from our to qantas.com to book flights, hotels or holidays, and that’s where we’ve really seen an increase.”

One of Galliott’s core beliefs is that the content should be platform-specific.

“We do not create once, publish everywhere,” she says.

“Some magazine content can go on the website but we have digital-only pieces, and we’ve put a lot of time into our SEO strategy so we’re really hitting all of our keywords alongside what’s trending, and, of course, social.

“We’ve seen our SEO content jump by something like 10 per cent year-on-year and in January, and if I think back to when I started, we inherited a blog that had no advertising.

“In January we got more than 4.7 million page views, our highest ever recorded, and over 330,000 visits per month. For a branded content site, these are just incredible numbers.”

‘We offer trusted advertisers an opportunity to connect with that Platinum One audience’

The team have no also moved into the events space, which is something Galliott hopes to drive further in 2025.

“We offer trusted, regular advertisers an opportunity to connect with that Platinum One audience by creating money-can’t-buy experiences.

“We want to look after our most-valued frequent flyers, and give them something special and obviously, our advertisers want to reach that very, very affluent audience.

“We’ll also create what we call signature experiences which starts with an event at a beautiful restaurant for 100 people,” she reveals. “I host a panel on stage about something topical in the business world, and we create content out of that event for the magazine, for digital video, and we partner with advertisers on that.”

‘Quality is everything’

As for challenges in 2025, Galliott is keen to see how AI will affect and enhance her business, particularly with SEO but she’s excited about another year working closely with Qantas and assisting them in achieving goals.

“Quality is everything,” she says “You know, we would never do anything to tarnish the Qantas name. They trust us and that trust has been developed over a decade. We’re always very mindful that we work for the national carrier, and we have to make sure that everything we’re doing is A1.”

It’s clearly a strategy that is paying dividends for Qantas, Medium Rare and Galliott as they win international awards like the CMAs and she’s determined to keep moving forward.

“I keep telling Qantas we’re best in class, and so it’s great to prove it.”

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Meta announced key changes to its approach to content moderation last month, including a shift from third-party fact-checking to the introduction of “community notes” in order to combat misinformation on its platforms. Speaking with Mia Garlick, Meta’s regional director of policy for Australia, Japan, Korea, New Zealand & Pacific Islands, the company explained its ongoing commitment to maintaining content integrity while adapting its strategies based on evolving user engagement patterns.

One of the key developments involves the transition from third-party fact-checkers to a more community-driven model in the US, which Garlick explained as a response to previous challenges with misinformation management. “When we first rolled out fact-checking, putting large labels on false content actually led to it being shared more. People were suspicious and claimed that Meta was part of a conspiracy,” she said. “With community notes, which is only being rolled out in the US at present, we’re aiming for a more constructive dialogue between users with differing views, which we believe may be more effective than traditional fact-checking in changing people’s minds.”

While the fact-checking program will continue through the election cycle, community notes are being gradually introduced, with an emphasis on encouraging constructive user engagement rather than simply flagging content as false.

The changes are not limited to fact-checking. In a bid to evolve with societal shifts, Meta also announced a refinement of its hate speech policies, pivoting towards a focus on “hateful conduct.” “We’re allowing more expression, especially around topics that are highly debated. For instance, some people have used slurs to reclaim them, and previously, we removed that content,” Garlick said. “Now, we’re focusing on removing harmful content, such as attacks based on protected characteristics, but allowing more speech that could be deemed offensive but is used for purposes like political debate.

“You don’t have to agree or disagree with what someone else says, but we are changing our rules to allow for this discussion and discourse. For example, someone stating that women should not be allowed to serve in combat roles in the military was up until now not previously allowed and yet this could be discussed in other forums like Parliament.”

As Meta continues to roll out these changes globally, including in the U.S., the company remains committed to ensuring its platforms remain safe and responsible spaces. “We have a commercial incentive to ensure the integrity of our systems. If our users don’t trust our platforms, they won’t use them,” Garlick said.

Will Easton, MD of Meta ANZ, added: “These updates reflect our commitment to providing a balance between user expression and protecting against harmful content. It’s essential that we remain agile and respond to evolving needs, ensuring that our approach stays relevant and effective.”

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IAB Australia has today announced that Suzie Cardwell, Nine’s chief data officer, has been appointed chair of the IAB Australia board, with Sarah Myers, GM audience and marketing at REA Group, stepping into the role of deputy chair.

The appointments come as part of a strategic leadership transition, with Cardwell succeeding Vanya Mariani, who stepped down following her departure from carsales. In addition to these key leadership changes, IAB Australia has welcomed three new board members: Dean La Rosa, general manager, commercial data at News Corp; Heather McGovern, acting CMO at Domain; and Davor Vilusic, executive general manager media at carsales.

As chair, Cardwell will collaborate closely with IAB Australia CEO, Gai Le Roy, to advance several key industry initiatives. These include ensuring responsible digital advertising frameworks that align with marketer, consumer, and government expectations, while also addressing emerging market needs and dynamics.

Among the board’s top priorities for 2025 will be harmonising carbon emissions tracking in media buying and planning, evolving the digital ratings currency Ipsos iris, preparing for upcoming privacy reforms, and providing education and guidance on AI developments impacting digital advertising. These initiatives are outlined in the IAB Australia Annual Report.

Le Roy said of the appointments: “I would like to thank Vanya for driving a vibrant and productive era of the IAB and being such a positive force in the industry. We are incredibly lucky to have Suzie, who is an admired and respected digital advertising leader, taking the chair role. Her strategic smarts and market knowledge will be wonderfully complemented by Sarah’s deep understanding of marketing and audience trends.”

Cardwell said: “I’m honoured to be appointed as the chair of the IAB Australia board and excited to work with Gai and the Board to further the mission of IAB Australia. The IAB plays a vital role in fostering a thriving and sustainable digital advertising ecosystem in Australia. We operate in a complex landscape. By continuing to work together, we can navigate the challenges and opportunities ahead and ensure that the industry continues to grow and evolve in a way that benefits all stakeholders.”

With over 20 years of experience in media and data-driven strategy, Cardwell has played a pivotal role in enhancing consumer and commercial experiences across Nine’s digital platforms. Prior to joining Nine, she held leadership roles at News Corp and Foxtel, driving transformative change in digital and data innovation.

Myers brings an equally impressive background, with extensive experience in audience growth and engagement across digital media and technology businesses. At REA Group, she leads a team focused on brand and performance marketing, lifecycle marketing, audience personalisation, and analytics. Her previous experience includes senior marketing roles at realestate.com.au, Mortgage Choice, Domain, SMH, and The Age.

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Netflix Australia has named IPG’s Initiative as the agency of record and Amplify as lead creative agency.

Jo McAlister, CEO of Initiative Australia, said in a LinkedIn post: “To say the team are excited is an understatement. It’s been quite the start to 2025, and we are bursting to work with one of the world’s leading entertainment brands.

“We share many values with Netflix, one being the mutual ambition of sparking conversation, which connected us from the start of the pitch process. And of course, the team are long-term Netflix devotees; we had so much fun consuming content as we prepped for the meetings.”

Gareth Davies, managing partner of Amplify Australia, also said in a LinkedIn post: “Since first working together in 2022, Amplify has been thrilled to contribute to a number of impactful creative campaigns for Netflix Australia.

“You can only imagine the team’s excitement to continue this relationship in an ongoing capacity across 2025, as we look forward to creating ideas, revolutionising storytelling, breaking formats and building on Netflix’s important role in culture together.

“It was clear from our first meeting that both Netflix and Amplify place immense importance on contributing to culture, something that we can’t wait to start working on across the business’ range of world-class entertainment offerings”

Tony Broderick, director of marketing, ANZ at Netflix, welcomed the streaming giant’s new partnerships. In a LinkedIn post about working with Initiative, he said:  “We are so pleased to welcome Initiative as our retainer media partner in Australia! At Netflix, our passion for culture, creativity, and conversation drives everything we do. After a highly competitive pitch process, Initiative impressed us with their passion for entertainment, creative spirit, and deep media expertise, making them the perfect match.”

Broderick said of Amplify: “We’ve loved partnering with Amplify on campaigns like Heartbreak High, Emily in Paris, and Leave the World Behind. Each idea has been unique, and we’re excited to make them our lead creative agency for 2025.

“Together with a village of production partners, we can’t wait to tap into their creativity, agility, and cultural passion to spark conversation and delight our members even more,” he added.

Success so far

This win comes after the agency was handed Volvo’s media account earlier this year after 25 years with incumbent WPP’s Mindshare.

The account spans key markets, including the U.S., U.K., Germany, Sweden, Japan, Australia, and Korea. Work will begin in 2025 after a brief transition period, as initially reported by Ad Week.

A Volvo spokesperson told Mediaweek: “We regularly evaluate our agency model and operations to ensure we are equipped with the right technologies, agility, and efficiency.

“We have appointed Initiative, powered by IPG, to lead our media strategy, planning and buying, in all regions with the exception of China.”

Initiative also successfully retained Goodman Fielder’s media account, which was announced last month. The agency will continue overseeing the company’s ATL media, including strategy, planning, buying, implementing and reporting, plus BTL media, as well as retail marketing planning.

Acquisition

News of Initiative winning Volvo’s global media account comes after Omnicom acquired Interpublic Group in December. The board of directors for the holding companies unanimously approved a definitive agreement pursuant to which Omnicom will acquire Interpublic in a stock-for-stock transaction.

The acquisition of Interpublic will make the combined holding companies the industry’s deepest bench of marketing talent, and the broadest and most innovative services and products.

Agencies under Interpublic include Initiative, Kinesso, Magna, McCann, Mediahub, R/GA and UM. These add to Omnicom’s current stable of Hearts & Science, OMD, PHD, BBDO, TBWA and Flywheel.

The new Omnicom will have over 100,000 expert practitioners. The company will deliver end-to-end services across media, precision marketing, CRM, data, digital commerce, advertising, healthcare, public relations and branding.

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The Murdoch’s might very well be the closest thing Australia has to royalty, and, just like royalty, what goes on when the doors are closed has always been a closely held secret. That is until now.

Often maligned as the black sheep of the family, James, the youngest son of the union between Rupert and  Anna Murdoch, has broken ranks and a cardinal rule: Never go against the family.

Over the past year, the 52-year-old and his wife, Kathryn, have been speaking exclusively to The Atlantic’s McKay Coppins about the turmoil within their family over the future of Murdoch’s conservative media empire.

In the article, McKay writes that over the past year, James and Kathryn “told me about the mind games at a Murdoch family-­counselling retreat, and all the ways that Rupert had devised to pit his sons against each other.

“They detailed the cynical deliberations that had led the family’s news outlets to support Brexit and Donald Trump, and the machinations that various family members had undertaken to get one another fired or subpoenaed or humiliated in the press,” he said.

James and his sisters, Elisabeth and Prudence, were blindsided in November 2023 when they discovered their father’s plans to dismantle the family trust, overriding previous agreements to secure Lachlan’s sole control of Fox and News Corp.

Although Rupert and Lachlan lost the legal fight in December, they have since appealed the ruling.

The long-standing power struggle between James and older brother Lachlan, just 15 months apart, is also explored. McKay reports their sisters were never considered serious successors. James directly attributes this to their father’s views: “He is a misogynist,” he said of Rupert. “He doesn’t believe his adult daughters are capable of making decisions.”

James also viewed sweeping reforms as essential to rescue the family’s media empire from what he saw as Rupert’s reckless leadership.

“If lying to your audience is how you juice ratings, a good culture wouldn’t do that,” he told McKay. When asked if The Wall Street Journal’s editorial page could be a model for a more responsible Fox News, James winced and replied, “I hope we can do better than that.”

Meanwhile, his wife, Kathryn, expressed doubts about whether Fox News was even salvageable. “It doesn’t have a clear purpose in the ecosystem anymore,” she said.

McKay said James even addressed the constant speculation about which family members might secretly have leaked information to Succession writers.

He goes on to write that, “James and Kathryn, thought his sister Liz was responsible. Liz swore she wasn’t, though for a while she was convinced that her ex-husband [Matthew Freud, a PR executive and great-grandson of Sigmund] was talking with the writers – and in fact she later learned that he’d repeatedly offered his services, but the showrunner, Jesse Armstrong, had declined. Armstrong told me that he and his writers simply drew on press reports.”

Pictured: Lachlan Murdoch, Rupert Murdoch and James Murdoch.

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1. Captain America: Brave New World

This new instalment to the Marvel Cinematic Universe makes its debut on the Australian Box Office at the top spot. The film sees Sam Wilson (played by Anthony Mackie) take over as Captain America from friend Steve Rogers (Chris Evans).

Wilson and the new Falcon, Joaquin Torres (played by Danny Ramirez) are thrust into an international crisis and must uncover the motive behind a sinister global scheme.

Total Australian Box Office gross to date: $5,314,919

2. Bridget Jones: Mad About the Boy

Renée Zellweger reprises her role as Bridget Jones, now a widowed single mother of two. The film, also making it’s debut on the Australian Box Office, follows Jones as she balances parenting, a demanding career, and the chaos of modern dating as she finds herself torn between a younger admirer and the unexpected possibility of romance with her son’s science teacher.

Total Australian Box Office gross to date: $4,448,316

3. NeZha2

The Chinese animated fantasy adventure is the sequel to the 2019 Ne Zha is another Australian Box office debutante. The film follows the events of the first film, that see Ne Zha and Ao Bing survive the catastrophe by becoming Spirits. To stop from completely dissipating, Taiyi plans to rebuild Ne Zha and Ao Bing’s mortal bodies with the Seven-colored Precious Lotus. But amid the reconstruction, there are many obstacles.

Total Australian Box Office gross to date: $2,346,879

4. Heart Eyes

The Romantic comedy slasher offering centres on the “Heart Eyes Killer” who has terrorised Valentine’s Day, stalking and murdering romantic couples. Ally (Olivia Holt) and Jay (Mason Gooding), who are on their first date, are targeted by the killer.

Total Australian Box Office gross to date: $765,481

5. A Complete Unknown

The Bob Dylan biopic drops to fifth spot in its fourth week at the Box Office. Audiences are transported to1961 when an unknown Dylan (Timothée Chalamet) arrives in New York City with his guitar and forges relationships with musical icons on his meteoric rise, culminating in a groundbreaking performance that reverberates around the world

Total Australian Box Office gross to date: $538,221

NRMA Rewards has partnered with entertainment and ticketing company TEG to give members access to an extensive range of benefits. 

The three-year partnership will allow NRMA Rewards members the opportunity to secure pre-sale tickets to sports and entertainment events, unlock benefits, and access to members-only experiences.

“As a member-owned organisation, we’re for finding new ways to reward our members on the road, when they travel and through a world of exclusive experiences,” Victoria Doidge, NRMA chief membership officer, said.

“That’s why we’re delighted to offer My NRMA Rewards members even more through our partnership with TEG. Both TEG and NRMA are building sophisticated digital and data eco-systems to better serve Australians, together as partners we believe we can truly make an impact.”

TEG Group chief executive officer, Geoff Jones said: “Our Partnership with the NRMA marks an exciting step forward for TEG. We look forward to welcoming NRMA members to enjoy some of the most exciting events happening across Australia with pre-sale ticket access, and bold new ways to heighten their experiences at our Events.”

To mark the launch of the partnership, My NRMA Rewards members will be able to secure pre-sale ticket access for Cirque du Soleil CORTEO and 30% discount on weekend passes for Race of Champions. My NRMA Rewards members can access all the benefits from the TEG partnership through the My NRMA app and website.

Doidge added; “We are excited to bring this new offering to our members. We currently have one million member sessions in our app each month, whether they are accessing our fuel discounts, getting cashback on retail purchases or planning holidays.

“We encourage our members to check our app regularly to ensure they can access the exciting program of TEG events across music, sport and arts.”

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The AI arms race is in full swing. Across most industries, businesses are racing to harness AI’s potential. For marketers AI has quickly become the latest enabling tool – helping to craft campaigns, predict consumer behaviour and personalise experiences at unprecedented speed, accuracy and scale.

But as adoption skyrockets, so do the big questions: How do we use AI responsibly? Where do we draw the line between innovation and risk? And with regulation still taking shape, what rules should we be following right now?

While these questions have been bubbling away for a while, it is becoming more urgent to answer them as this technology becomes more deeply embedded within marketing practices. The ability of AI to automate targeted digital marketing is fuelling particular concerns around bias, fairness, transparency and accountability.

After all, what happens when an AI-powered campaign unintentionally excludes certain demographics? Or when an algorithm optimises for short-term conversions at the expense of brand reputation?

These aren’t just hypothetical questions. Around the world, regulators are scrambling to put controls (commonly called AI guardrails) in place, from the EU’s AI Act to U.S. state-level legislation. In Australia, however, AI regulation remains a work in progress.

While it’s almost certain that we will see new regulatory measures emerge, businesses don’t need to sit idly by until that happens. The reality is that existing laws and guidelines already provide a foundation for responsible AI adoption. Our country’s existing legal frameworks – specifically those covering consumer protection, privacy, competition, and anti-discrimination – already provide a solid foundation for responsible AI adoption.

The Australian Consumer Law, for instance, mandates that businesses must not engage in misleading or deceptive conduct. This is something that applies as much to AI-driven decision-making as it does to traditional business practices.

Similarly, the Privacy Act covers data collection, usage, and storage, which directly affects how AI models are trained and deployed. The Australian Human Rights Commission also outlines the need for AI to comply with anti-discrimination laws, addressing fairness in automated decision making.

Rather than rushing to replicate European or U.S. approaches, Australia must develop AI regulation that reflects the specific needs of our market and legal traditions. Unlike other countries, Australia’s regulatory system tends to take a principles-based approach – one that balances innovation with consumer protection.

To explain further, principles do not mean voluntary, or not enforceable by regulators. Rather, principles-based rules state what businesses must achieve, and may or may not address the detail of how those requirements are achieved, or even specific technologies or business activities to which the rules are applied.

A rigid, one-size-fits-all framework may stifle AI’s potential benefits before they can be fully realised. Additionally, Australia’s unique market characteristics, such as its concentrated business landscape and smaller economy, require an approach that won’t unduly burden local businesses.

The key challenge is ensuring that any new regulation addresses actual risks rather than creating unnecessary complexity. AI has enormous potential to improve business efficiencies, customer experiences and economic productivity. However, an over-engineered regulatory framework could introduce burdens that discourage businesses from experimenting with AI-driven innovation.

There is also the risk that excessive regulation could lead to regulatory arbitrage, where companies move AI operations offshore to avoid compliance, ultimately reducing local competitiveness.

For now, Australian businesses should focus on compliance with existing laws, while adopting best practices for AI governance. This means maintaining transparency in AI-driven decisions, ensuring data privacy obligations are met and being proactive in assessing the ethical implications of AI use.

Companies should also establish clear accountability measures, ensuring properly trained human oversight where AI is used in critical automated decision-making processes. A strong internal AI governance framework, including risk assessments and bias detection mechanisms, can help mitigate potential legal and reputational risks.

That governance framework needs to also address processes in which AI is used, the quality of data used by AI systems and assurance controls to ensure that processes are reliable and reliably followed. Australian and international standards addressing AI, data and information security also provide useful guidance as to good practice to mitigate legal and reputational risks.

Regulators, too, have a role to play beyond creating new laws. Greater regulatory guidance, industry collaboration and the development of voluntary AI governance frameworks could provide businesses with the clarity they need to move forward confidently.

Regulators may recommend that specific standards or codes of practice are followed, or state that adoption of a particular standard or code will be taken into account in assessing whether an entity has complied with legal requirements.

It’s also crucial, given the unpredictable changes currently happening in the US, that AI regulation in Australia doesn’t copy and paste laws from other countries without consideration of local realities. We may not fully understand the ramifications of the recent US AI policy changes for some time.

The EU AI Act has been criticised for undue complexity and rigidity. The UK government is canvassing development of a middle course, between the highly predictive and detailed EU AI Act and the light-touch AI regulation mooted by the US White House. Australia may wish to find its own middle course on AI regulation, possibly aligned with the UK government’s approach.

Alignment with international best practices can be beneficial but we are seeing diverse approaches to AI regulation and no clear international norms. Australian businesses need regulations that are fit for purpose and that enable businesses to develop innovative AI enabled business practices within clear and predictable guardrails.

Our regulatory approach should focus on supporting responsible AI use while ensuring that AI driven Australian businesses remain competitive in a rapidly evolving global economy.

If regulation is to come, it should be carefully designed to enhance trust without stifling innovation. Australia has a unique opportunity to take the best from international approaches when tailoring a framework which suits our economy and regulatory environment.

Rather than waiting for the government to set the rules, businesses that take a proactive approach to AI governance today will be better positioned for whatever regulations come tomorrow.

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QMS will once again play a key role in promoting the Sydney Gay and Lesbian Mardi Gras Festival, as the City of Sydney transforms into a hub of celebration, diversity, and inclusion.

Throughout the festival, running from 14 February to 2 March, QMS will feature digital campaigns from brands such as Absolut, American Express, Uber, Specsavers, NIB, Universal Pictures, and AAMI across its City of Sydney digital street furniture network. These campaigns highlight corporate support for the LGBTQIA+ community.

Now in its 47th year, the festival draws global attention and welcomes thousands of visitors to Sydney. The celebrations will culminate in the Mardi Gras Parade on 1 March, featuring over 200 floats and 11,000 marchers, all embracing this year’s theme: “Free to Be.”

QMS general manager, City of Sydney, Olivia Gotch, said: “Mardi Gras is a time of celebration, visibility and unity, and we are incredibly proud to support our clients in sharing their powerful messages of love, equality and progress once again.

“The City of Sydney network offers an unparalleled opportunity for brands to engage with major event audiences in the heart of the festival. With our market-leading digital out of home assets, we can amplify these important messages in real time, ensuring they reach audiences all the way across Sydney and its surrounding suburbs.”

Last year, Sydney Mardi Gras saw audiences surge by 20% on the festival’s weekends, as well as a huge jump of 76% in interstate visitation. Sydney’s Oxford Street also saw audiences up 38% across the entire festival, and up 74% in the evenings.

Gotch added: “This year, we are seeing brands push creative boundaries even further, using our network to tell stories that resonate and inspire. It’s a privilege for QMS to support our partner brands with a platform in the heart of the festival celebrations that is committed to showcasing diversity across Sydney, and to the world.”

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Social media giant Snapchat has announced a program called the ‘Council for Digital Wellbeing’ program in Australia and is inviting young Australians to apply. The initiative aims to give teenagers a platform to contribute to discussions on online safety and digital wellbeing.’

The program is open to students aged 14 to 16, with around 15 participants selected from across the country. The goal is to ensure a diverse range of perspectives on creating a more positive and connected digital space.

The launch follows research showing that over 90% of Australians believe teenagers should be part of conversations on safer online experiences. Snapchat aims to leverage teens’ technical literacy and innovation to help shape digital wellbeing strategies.

It also comes off the back of the Australian government’s decision to introduce legislation to ban social media use for children under 16, in a world-first initiative.

The council, set to be announced in April, will see members participate in monthly calls, project work, and discussions with Snapchat’s global Safety Advisory Board. The program includes a two-day, in-person summit at Snapchat’s Sydney office, with travel and accommodation covered for participants and a guardian.

Running for approximately 18 months, the Australian council will operate as a counterpart to Snapchat’s U.S.-based Teen Council for Digital Wellbeing, launched last year.

Policy lead for Snap Inc. in Australia and New Zealand, Ben Au, said: “We’re passionate about making Snapchat a fun and safe place for connecting with friends and family. Our new Australian teen council is a key part of that ongoing effort, and we’d love to see young people from Australia get involved.

“We believe that teens have invaluable insights to share, and we’re excited to collaborate with them to build an even better digital future for all.”

Meanwhile, Lucy Thomas OAM, who is the co-founder and CEO of Australian youth advocacy and anti-bullying organisation, Project Rockit, said: “Now more than ever, it’s essential that young people have a voice in shaping the platforms they use every day. If we want online social experiences to be safe and empowering, platforms must actively listen to teen experiences and respond by design.

It’s exciting to see Snapchat’s new Australian-based Council for Digital Wellbeing provide this opportunity for Aussie teens to step up and take the lead in shaping global platforms.”

Eligible teens who are ready to make a difference should apply here by 5pm (AEDT) on Friday, 28 March – or just search online for the “Snapchat Safety Newsroom”. The application process is straightforward and includes a short essay and video responses; no special skills are required.

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The Western Bulldogs and Mars Wrigley have extended their partnership for another three years, ensuring Ballarat’s AFL and events venue will continue to be known as Mars Stadium until at least the end of 2027.

As part of the renewed agreement, the Bulldogs and Mars Wrigley will introduce match-day experiences and community initiatives aimed at engaging Ballarat residents. Increased investment will also support local community heroes and sporting clubs, with details on new programs to be announced in the coming weeks.

The extension marks a decade of collaboration between the Western Bulldogs, City of Ballarat, and Mars Wrigley, reinforcing their shared commitment to supporting sport and events in the region.

Bulldogs chief commercial and strategy officer, Kon Karavias, said: “Since 2017, Mars Stadium has become our second home for our AFL and AFLW teams, so this extended partnership with Mars Wrigley and the City of Ballarat will see us continue to strengthen our connection within the region.

“The atmosphere at all three of our Mars Stadium games last year was really special. Ballarat is now our third largest postcode of members, and we are excited to continue delivering amazing experiences for our members, fans and the wider Ballarat community across the next three years,” he said.

Mars Wrigley Australia sales director, Xavier Shortal, said: “It’s an honour to sponsor such an iconic and important part of the local Ballarat community, as well as deepen our association with the Western Bulldogs.

“This sponsorship signifies Mars Wrigley’s commitment to the great city of Ballarat, which has been an important part of our history for more than 40 years, producing our iconic confectionary brands including Mars, Snickers, Maltesers, M&M’s and Pods,” added Mr Shortal.

“We’re thrilled to be using this sponsorship to give back to the local community, including launching a number of new community initiatives that we’ll proudly be working to deliver alongside the Western Bulldogs.”

City of Ballarat Mayor, Cr Tracey Hargreaves also expressed her delight with the partnership renewal.

“Together with the Western Bulldogs, we share the excitement that Mars Wrigley has extended its agreement as naming rights partner of Mars Stadium for a further three years,” she said.

“Mars Stadium is now well and truly associated across the country with AFL football in Ballarat and this agreement will only strengthen our reputation as the sporting capital of regional Victoria.”

The Bulldogs will host Port Adelaide (Round 8) and Adelaide (Round 18) at Mars Stadium this year, making it 15 AFL games at the venue since the first match played for premiership points in 2017.

The AFLW Bulldogs have also hosted five games at Mars Stadium across four seasons.

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Isuzu Australia Limited (IAL) is set to continue its involvement in the Supercars Championship, partnering with PremiAir Racing for a 13-round season featuring drivers James Golding and Richie Stanaway in Chevrolet Camaros.

This marks the second year Isuzu Trucks and Isuzu Power Solutions will appear on the cars of the Peter Xiberras-owned team, based on the Gold Coast. Following its initial partnership, Isuzu will expand its role as a major team sponsor for the full 2025 season.

The 2025 championship will see the team competing across Australia and New Zealand, starting at Sydney Motorsport Park and including key events such as the Formula 1 Grand Prix support race at Albert Park, the Bathurst 1000, and the season finale in Adelaide.

As part of its sponsorship, Isuzu will continue its Technician placement program, allowing eight technicians from its dealer network to gain hands-on experience with the race team throughout the season.

Beyond its motorsport partnership, Isuzu will also introduce several activations tied to the release of a new truck model later in the year.

Head of marketing and customer experience at Isuzu Australia, John Walker, said: “Isuzu Australia is thrilled to once again team up with PremiAir Racing in 2025.

“PremiAir Racing shares our commitment to excellence, and in the competitive world of Supercars, it offers a fantastic opportunity for Isuzu Trucks and Isuzu Power Solutions to engage with our mutual audiences.

“2025 is a milestone year for Isuzu Trucks, with all new models set to hit the Australian market later in the year, PremiAir Racing will play a vital role in our showcases on and off the track.

“The technician program also has great benefits for our Dealer Network technicians, giving them insights and new skills that they can take back to their roles within the Isuzu network – all of which flow through to providing a better service for our customers.”

PremiAir Racing owner Peter Xiberras is equally excited about the upcoming season.

“It’s an exciting year for both PremiAir Racing and Isuzu – we couldn’t be happier about heading into 2025,” said Mr Xiberras.

“The PremiAir group, has had a long-standing relationship with Isuzu. Our fleet of Isuzu Trucks, which is delivering for our business out on the road, is a testament to that partnership.

“We’re also looking forward to once again having the Isuzu’s technicians join us for selected race weekends; it’s a great opportunity for collaboration, and I’m confident that all parties will work together towards success.” ​ ​

The 2025 Supercars Championship will see several changes, including an expanded calendar and a revised championship format. Queensland Raceway returns to the schedule, increasing the series to 13 rounds and a total of 34 races – 10 more than in 2024.

A new Endurance Cup will be introduced, awarded based on results from the two-driver races at The Bend in September and Bathurst in October.

The most significant change is the adoption of a football-style finals format. After the Bathurst race, the points standings for the top 10 drivers will be reset, with the championship determined over the final seven races.

The season will conclude on November 30, with the top four drivers competing for the title in the final race on the streets of Adelaide.

“We aim to win any time we race, plus now with the new finals format, PremiAir Racing could be in the hunt for a title,” said Xiberras.

“Even as drivers are eliminated from title contention, all 25 cars will compete in every race, so the intensity will be off the charts.”

“We’re looking forward to what will be an incredible year for PremiAir Racing and Isuzu in 2025!”

2025 Supercars Championship Calendar

Round 1: Sydney 500
Sydney Motorsport Park (NSW)
21-23 February

Round 2: Melbourne SuperSprint
Albert Park (VIC)
13-16 March

Round 3: Taupo Super 440
Taupo Motorsport Park (NZ)
11-13 April

Round 4: Tasmania Super 440
Symmons Plains Raceway (TAS)
9-11 May

Round 5: Perth Super 440
Wanneroo Raceway (WA)
6-8 June

Round 6: Darwin Triple Crown
Hidden Valley Raceway (NT)
20-22 June

Round 7: Townsville 500
Reid Park Street Circuit (QLD)
11-13 July

Round 8: Ipswich Super 440
Queensland Raceway (QLD)
8-10 August

Round 9: The Bend Enduro
The Bend Raceway (SA)
12-14 September

Round 10: Bathurst 1000
Mount Panorama (NSW)
9-12 October

Round 11: Gold Coast 500
Surfers Paradise (QLD)
24-26 October

Round 12: Sandown 500
Sandown Raceway (VIC)
14-16 November

Round 13: Adelaide Grand Final
Adelaide Street Circuit (SA)
27-30 November

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Boomtown has kicked off its 2025 season of Masterclass sessions with WPP AUNZ chief strategy officer, Katie Rigg-Smith reminding attendees of the importance of regional Australia on clients’ media schedules.

“We have a responsibility. It’s incumbent on us to spend our clients’ money wisely—and there’s a big opportunity and population out there. We need to make sure we’re considering regional,” she said.

“Every single client wants us to unlock growth for them, and regional markets provide the critical mass and huge spending power to do just that. And so, we have to consider how you can unlock growth. The opportunity with regional media is that it offers this amazing way to engage a community that is localised and personalised to them while still getting critical mass and audience numbers.”

Rigg-Smith added that marketers and media agencies should overcome any bias about regional Australia and tap into its potential.

“We need to make sure that if there are budget cuts to a plan that we still consider priority markets across both metro and regional, and try our hardest to protect them as opposed to it being immediately assumed that regional markets should be the ones to be cut.”

Rigg-Smith was joined at the Masterclass by Sunrice chief marketing officer, Tamara Howe and Talent Corp Director and co-founder Ruth Thompson, with moderator Wade Kingsley, founder of The Ideas Business.

Howe echoed Rigg-Smith’s comments on overcoming bias, pointing to Boomtown’s potential and ability to create a competitive advantage for brands.

“When I joined Sunrice, we didn’t have any regional media buying, so it’s one thing I put in place straight away,” Howe said. “Most people who work on brands are based in the cities, and there’s a natural bias that ‘people are like us’ which can make us overlook these markets. But the growth potential is so significant that it really makes you wonder if we’re even investing enough in regional areas.”

“In regional markets there’s a lot less noise, less saturation, less clutter. We know it’s very important that creative cuts through and attention’s harder to get, more than ever. But because there’s a lot less noise and saturation in regional markets, it’s easier to cut through more effectively and truly engage with customers,” she added.

Thompson pointed to the metro migration to regional areas and how this influx is fundamentally changing the demographic profile and economic wealth in Boomtown.

“When we first talk about regional, clients often think it’s a market they don’t need to get to. But people are leaving the city and moving further out —and they still shop for groceries, holidays, cars. With fewer stations to cover, buying one or two regional markets gives you great reach along with creative integrations and cost-effective results,” she said.

“The shift isn’t just a trend, it’s real – it’s a fundamental change in how people are living, working, and spending. Brands that focus solely on metro are leaving money on the table. The assumption that regional consumers are harder to reach or don’t engage with brands is really outdated. They need to get on the bandwagon.”

Boomtown Independent chairman, Brian Gallagher, said: “It’s a little-known fact that the 9.8 million Australians living in regional Australia is just 5% smaller than the combined populations of Sydney and Melbourne – which offers brands not only serious reach, but a far less cluttered market and a much greater opportunity to engage and connect with Boomtown.

“Our first 2025 Boomtown Masterclass was incredibly well received. We have earned a reputation for bringing some of the industry’s top leaders to the table to discuss why regional Australia represents an untapped market for advertisers – and why it’s delivering unparalleled campaign success.”

Top image: Wade Kingsley, Katie Rigg-Smith, Ruth Thompson and Tamara Howe

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CX Lavender has welcomed Jess Rasker and Kaitlin Kiparizov, graduates from the agency’s 2025 Genus program, now in its 11th year.

Rasker and Kaitlin step into the roles of business executive and junior UX/UI designer, respectively. Rasker and Kaitlin will report to joint client services directors KaLing Ng and Georgina Thomas, and digital design partner Stan Cheung, respectively.

Genus offers successful applicants permanent full-time roles with a competitive salary from day one. The program, established in 2015, is an integral part of CX Lavender’s commitment to investing in the industry’s future leaders by giving them hands-on experience, direct client exposure, and structured career development.

The rigorous selection process assesses academic excellence, strategic smarts, communication skills, creativity, and interest in customer experience. Candidates progress through multiple stages, including a written questionnaire, a creative video submission, a strategic challenge with a face-to-face presentation, and a final one-on-one interview.

Tess Lavender, founder of the Genus Program, emphasised the agency’s selective approach: “We’re committed to unearthing only the best talent – the ‘firecrackers’. We don’t hire to fill quotas; we hire only when we find exceptional candidates.

“Regardless of their degree, a strategic mindset is a must. Our goal is to ensure every employee at CX Lavender is both strategic and smart.”

Since its inception, CX Lavender has recruited 42 graduates through the Genus program, many of whom continue to thrive within the agency. Among them are senior designer Alex O’Neil and senior copywriter Natasha Velkova, both part of the inaugural 2015 intake.

CX Lavender is dedicated to fostering the next generation of marketing and design professionals, ensuring the industry’s future is driven by innovative and strategic thinkers.

–

Top image: Jess Rasker, Kaitlin Kiparizov

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Spotify Australia has revealed its Australian Music Global Impact List for 2024, highlighting the Top 30 tracks by Aussie artists that made waves internationally. The ranking, based on global streams outside Australia, includes only tracks released between the 1st of January and the 31st of December 2024.

Rising star CYRIL takes the top spot with his remix of Disturbed’s The Sound of Silence, marking a breakout year with three entries in the Top 30. His remixes of The Door (CYRIL Remix) by Teddy Swims (#18) and Fall At Your Feet with Dean Lewis (#24) further cemented his global impact.

CYRIL said: “I’m incredibly honoured to have three tracks featured on the Spotify Global Impact List, including a No.1 spot, alongside so many talented artists. It makes me proud that my music can show the world that Australians aren’t here to f*** spiders.

“I’ve always wanted to show the world just how incredible Aussie music is, so topping the Global Impact List alongside so many idols of mine is absolutely unreal. None of this would’ve been possible without the support of Spotify Australia not just locally, but on a global scale,” he said.

Also making the list was viral sensation Lithe follows at #2 with Fall Back, which dominated social media throughout 2024. He also claims the #12 spot with Like We Wrote. Meanwhile, The Kid LAROI had the strongest presence on the list with five entries, including four tracks from his 2024 album THE FIRST TIME and a collaboration with EKKSTACY.

Indie darlings Royel Otis continued their international rise, with their covers of Linger (#5) and Murder on the Dance Floor (#11) making a strong impact.

Aussie dance music thrived on the list, with two Tame Impala collaborations with Justice securing spots, while Timmy Trumpet landed two entries as well. FISHER’s Somebody (2024), a remix of Gotye and Kimbra’s viral 2010s hit, reached #3.

Finally, music icons Sia and Kylie Minogue, both former #1 holders on the list, made the cut again with their collaboration Dance Alone at #19.

Spotify Australia artist and label partnership lead, Leah Harris said: “Spotify’s Australian Music Global Impact List continues to provide a fantastic snapshot of the power of a borderless music industry, breaking down the local acts making a big impact overseas.

“It’s fantastic to see such an exciting up and coming act like CYRIL taking out the #1 spot, after having a breakout 2024 both locally and abroad. The latest edition of the list demonstrates that both established and emerging acts are building overseas audiences through Spotify, a crucial part of building sustainable careers in music,” she said.

Pictured: CYRIL

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