Mediaweek is proud to reveal the finalists for the Next of the Best Awards 2025, our annual celebration of the rising stars shaping the Australian media, marketing, and creative industries.
The winners, from the shortlisted names below, will be announced at the Next of the Best Awards at the W Sydney on Friday, June 13.
Sponsored by News Corp Australia, LISTNR, and Rolling Stone AU/NZ, this promises to be an unforgettable night.
With a live set from Dayshawn and hosted by Jimmy, Nath and Emma from 2DAY FM’s The Jimmy & Nath Show with Emma, this is more than just an awards night, it’s an unforgettable evening honouring the industry’s rising talent and those championing their success.
Jimmy & Nath with Emma
Here are the Next of the Best finalists (in no particular order). A huge congratulations to everyone on the shortlist; your passion, creativity, and impact are driving the industry forward, and we’re delighted to celebrate your achievements.
Lisa-Marie Lavocah, Mamamia
Ari Petropoulos, News Corp Australia
Bree Tassell, oOh!Media
Izabella Paoliello, GroupM
Madeleine Smith, oOh!Media
Leona McConnell, oOh!Media
Bryce Crosswell, SCA
Emily Clifford, oOh!Media
Tara Peck,The Guardian
Rianna Danis, News Corp Australia
Jack Castles, Vinyl Media
Patrick Condon, Foxtel Media
Danielle O’Meara, oOh!Media
Rachel Knight, dentsu QLD
Cleo Lam, Spark Foundry
Josh Fick, dentsu QLD
Danica Berjanovic, OMD
Monique Gerada, dentsu QLD
Courtney Cholakos, dentsu QLD
Cassie Broad, Starcom
Lennie Butler, Spark Foundry
Jun Sayabath, UM
Maddie Phillips, dentsu QLD
Liz Lonsdale, Howatson+Company
James Turner, Howatson+Company
Justin Arlt, Wavemaker
Michael Mellington, UM
Clare Todhunter, Nine
Matilda Boseley, Guardian Australia
Sharn Jaye, Mamamia
Emily McPherson, Nine
Krista Schade, The Riverine Grazier
Jess Eva, Maker Media
Holly Bryar, Bryar Casting
Justin Corbett, Perpetual Entertainment
Gia Moylan, Deadset Studios
Emily Tresidder, SCA
Ashleigh Smith, SCA
Nicola Dale and Di Edwards, Over the Backfence podcast
Emily Vernem, Mamamia
The Hot Hits with Nic and Loren, SCA
Sean Brown, SCA
Hit Nights with Lucy and Nikki, SCA
Jonathon Moran, News Corp Australia
Mary Karananos, Paramount
Meg Bellemore and Ciara Bowe, Guardian Australia
Mikela Burnham, News Corp Australia
David Vale, HSLR
Caitlin Lee, Steph Yin and Za Rathie, Total Sport + Entertainment
Winne Lui, Nine
Doy Moreau, Audience360
Andrew McKeown, oOh!Media
Pranai Devulapalli, oOh!Media
Annie Marendaz, The Media Store
Emma Petersen, Paramount
Drew Worthington, Vinyl Media
Rose McClelland, oOh!Media
Holly Butts, SCA
Kate Hornstein, EVDirect
Angelina Das, News Corp Australia
Marcus Billingham-Yuen, News Corp Australia
John Guanzon, Man of Many
Nicole Douglas, Nine
Stephanie Rigg-Smith, Are Media
Ramon Rodriguez, News Corp Australia
Harry Parsons, Man of Many
Dianna Molinaro, News Corp Australia
Nan’s Favourites
Silk Cartwright
Sharn Jaye, Mamamia
Grace & Matt
Gabrielle De Ramos
Olivia James, Mamamia
Jenna Benson, ARN
Brittany O’Brien
Lily Nielsen, Wavemaker
Santosh Murthy, Identity Communications
Asier Carazo, Atomic 212º
Jazmaree Dawson, EssenceMediacom
Zoe Lassig, Havas Media
Nalina Tran, News Corp Australia
Alyce Wilson, SCA
Sharnee Rawson, Guardian Australia
Kiri Martin, SCA
Luke Amasi, iProspect
Julia Sheehan, Leo Australia
Madison Lawler, SQUAD (Mamamia)
Harry Badcock, Abe’s Audio
Jessica Nikolovski, oOh!media
Patrick Whitnall, AiMCO
Asier Carazo, Atomic 212º
Rebecca Ackland, SCA
Chris Ernst, dentsu QLD
Bryce Crosswell, SCA
Marilla Akkermans, Equality Media + Marketing
Jessica Miles, Integral Ad Science
Lorraine Woods, Atomic 212º
Date: Friday, June 13, 2025 from 6.30pm
Location: W Sydney
Tickets: Here
Despite tighter budgets and the threat of tariffs impacting the cost of goods, 55% of Australians still prioritise experiences over material possessions.
The second annual Scout consumer study from full-service media agency Mediahub, “The Paradox of Purchase Decisions,” surveyed 1,000 Australians and uncovered a complex consumer landscape. The report revealed that dining out and travel top the spending wish lists for 30% of Aussies, demonstrating the enduring power of the experience economy.
While cost-of-living pressures remain a primary concern for 50% of respondents, this is down by 13% year-on-year, while overall feelings of contentment have risen by 9% year-on-year. Anxiety levels have also decreased by 10%, with 21% reporting anxiety in 2025 compared to 31% in 2024. The report suggests a growing resilience and adaptation to ongoing financial challenges.
“Global issues like tariffs and geopolitical tensions have put consumer spending under scrutiny,” says Linda Fagerlund, Chief Strategy Officer at Mediahub.
“Amidst the negativity, consumers are shifting their mindset. Australians are tightening their belts, but they’re also reframing what brings happiness. Contentment now centres on connection, quality time, and feeling in control. This is the paradox of purchase decisions – brands need to speak to both the head and the heart.”
Linda Fagerlund: ‘Global issues like tariffs and geopolitical tensions have put consumer spending under scrutiny.’
The Mediahub study also highlights several key paradoxes shaping consumer behaviour, including brand reputation growth as price sensitivity weakens. The survey revealed that consumers have delayed purchasing big-ticket items have doubled year-on-year but that smaller, everyday trade-offs are now habitual behaviour based on price. Larger purchase decisions demand a stronger emotional connection to the brand (+15% more than everyday spending) and premium or high involvement brands need to emphasise long-term value and aspirational narratives.
The report also highlighted a significant gender gap when making purchases – men feeling more optimistic and women reporting higher anxiety levels. The feeling underscores the mental load carried by women and the opportunity for brands to offer empathetic, practical support and build community.
Despite financial constraints and 36% saying they are actively making trade-offs on travel and holidays, over half of Australians still say they prioritise experiences.
“These paradoxes are crucial for brands seeking to connect with customers,” added Fagerlund. “Despite economic pressures, consumers are seeking a balance – practicality combined with a renewed desire for meaningful experiences.”
In the shadow of one of the most explosive celebrity trials in recent memory, 7NEWS reporter Mylee Hogan is stationed outside a Manhattan courthouse, mic in hand, waiting for a flash of action.
It could be Sean ‘Diddy’ Combs stepping through the doors or a prosecutor gliding past. It could be a fan, a protester, or a TikTokker angling for a clip to go viral.
Suffice to say, this is not your standard court beat.
“Sean ‘Diddy’ Combs is someone who took hip hop and made it mainstream,” Hogan told Mediaweek after a long day of reporting. “He’s well known, not just in America, but throughout the world. He has been extremely successful. And now he’s facing these federal charges, including racketeering and sex trafficking, and he’s facing life in prison.”
It’s the kind of high-stakes, high-profile story that shapes global headlines. For Hogan, it also sets the tone for her every waking hour.
Mylee Hogan on the tools in her role as the Seven Network’s US Correspondent
To say there’s public interest in this case is an underselling it.
“I haven’t seen, when I’ve covered cases in Australia, as many just everyday people turning up to go into the courtroom and watch,” Hogan says.
Combs is accused of orchestrating sexual ‘freak-offs’, as he allegedly called them, involving women whose participation is now under legal scrutiny. The prosecution argues these weren’t consensual but coerced, with singer Cassie Ventura, Combs’ former partner, revealing sordid details on the stand.
“There’s so much interest in this case because of who he is as a celebrity and the details of the case,” Hogan says. “That will be what the jury has to weigh up, were these ‘freak-offs’ consensual, or were women coerced?”
The stakes, the personalities, and the salacious details have turned the courthouse into a theatre of obsession. But it’s not just the nature of the case pulling people in. It’s also the changing media landscape.
“There’s traditional media, there’s TikTok, and everyday people are recording as well,” Hogan explains. “So there’s so much interest generated. It feels like sometimes people look at it as entertainment.”
Sean ‘Diddy’ Combs
Before Hogan steps into that media scrum, she’s already been on the job for hours. Her preparation is meticulous. For a story this big, with lawyers, prosecutors, and witnesses moving fast and unpredictably, she has to be across every aspect.
“I’ve got to be very prepared,” she says. “I’m watching all the documentaries that are out there. I watch a lot of different news reports in the lead-up, reading widely, going through whatever material is available to ensure I’m across all of the details.”
And it’s not just names and dates. It’s faces.
“It is essential to ensure you know all those players… because we work in television. So when a prosecutor walks past you, especially for a court case, that could be my only shot of the day – my fresh shot of the day.”
By the time most of Australia is waking up, Hogan has already done her first scan of headlines, sifted through overnight developments, and then it’s straight down to court.
Covering a court case in the US, especially one involving a global celebrity, is a different kind of spectacle.
“In this particular court, there are overflow rooms. It’s so busy that before the first day, people camped out in front of the courtroom to ensure they could get inside and take a seat.”
Some even turned the queue into a hustle.
“Some people run a business, like little businesses down here, where you can pay them money to hold your spot in the line. People will wait there with signs saying, ‘I’ll take this much money to hold your spot.’”
In other words, if you’re a reporter needing to do a live cross for breakfast TV, you might actually pay someone to keep your courtroom seat warm.
Then there’s the gear. Camera operators arrive before dawn to claim their spot. Tripods are planted like flags in a media frontier. There’s also a code, an unspoken, often unacknowledged, but widely respected one.
“It can definitely get competitive among the cameramen and the photographers to get the best shots,” Hogan admits. “But generally speaking, everyone’s respectful and everyone knows the game. So they know how to work together.”
(L-R) The queues outside the court and the camera operators gathering outside to capture the ‘perfect shot’
The courtroom itself has strict rules. No phones allowed.
“It’s old-school pen and paper only, which I don’t love in this day and age because I prefer to be able to type out everything that’s happening,” Hogan says. “But I’ll still write it all out and then come out and start live crossing into Sunrise.”
Picking the right moments matters. There’s the courtroom testimony, and then there’s the punchy grab that tells the audience something essential, or elicits a visceral response.
“It’s a natural reaction when you’re listening to someone give testimony… when you think, oh wow, that is probably what other people’s response will be as well,” Hogan explains. “So I pick out those grabs or those moments because they’re the most impactful.”
But the process doesn’t end there.
“I will always bounce things off a producer. They are crucial in this industry because they’re a second head helping you pick out what’s interesting. You need someone to talk through the information with. A team is always better than one person.”
After Sunrise crosses, courtroom notes, and collaborative edits, Hogan wraps her final pieces by 6pm. And then it starts again.
This job is not for the faint-hearted.
“I’m always up early. And the first thing I do is check my phone, which I don’t know if that’s healthy, but I check my phone to make sure I’m up to date.”
She’s half a world away from home, reporting on one of the most sensational trials of the decade. And still, her approach is grounded in something deeply practical: a healthy respect for the craft, the hustle, and the people who make it happen.
“It’s a process and a real team effort.”
In the frenzy of flashing lights and legal drama, Hogan and her crew are calmly, persistently telling the story. Not just of a fallen music icon, but of a media moment, messy, fascinating, and very much unfolding in real time.
By Barry O’Brien OAM, Chairman, Atomic 212°
The NRL is pushing hard to strike a new media deal, one that could reshape Australian sport. It’s been a long time coming. Under the leadership of Peter V’landys and Anthony Abdo, the code has surged in strength audience, and ambition. The NRL is chasing a massive $3 billion to $3.2 billion media deal – and it looks well within reach.
V’landys is a force of nature. He kept the NRL alive through COVID and took rugby league to Las Vegas. At NSW Racing, he has made The Everest a global racing sensation. He is a master strategist and negotiator, skills that are on full display as he manages and manipulates the NRL media rights game.
Now, with strong crowd numbers, Magic Round viewership up 20%, subscription TV audience growth of 12.5% this year, and streaming on 9Now and Foxtel growing, NRL is entering a new era. Expansion to PNG and Perth, growing international competitions, and surging streaming figures mean the NRL is hotter than ever – and the market knows it.
As negotiations ramp up, traditional giants like the Nine, Seven and Ten free-to-air networks face fierce competition from streaming heavyweights including Netflix, Amazon Prime, ESPN and DAZN. The free-to-air networks need live sport, as its one of the core drivers of their audience and revenue numbers. The streamers need live sport to lock in subscribers in what has become a very cluttered and hyper-competitive category.
But here’s the warning. In chasing the dollars, the NRL must not price out its lifeblood: the fans. At a time when many Australians are feeling the pinch, making the game too expensive or splitting coverage across too many platforms could be fatal.
Peter V’landys
The NFL might have been able to spread its media rights across many platforms in the US, but Australia’s smaller market demands a simpler, smarter approach. A maximum of two broadcast partners — one free-to-air, one affordable streamer — is the sweet spot for the fans, sponsors and advertisers. Split NRL across too many platforms and the code will be weakened.
And let’s not get lost in the code wars. Sure, we’ve seen some chest beating recently between the AFL and NRL heavyweights about who is the #1 sporting code in the country, but honestly, who cares? Both codes play a vital role in the everyday lives and psyche of Australia. It doesn’t matter what shape the ball is, Aussies love their footy, they love their teams, and they’re fiercely loyal to their players.
The NRL is sitting in the box seat. V’landys and his team have done the hard work to put the sport in this position. Now they need to finish the job, by locking in a monster deal that strengthens the game’s future without locking fans out of it.
The money is coming. Just make sure the passion stays, and the fans are the #1 priority.
ARN has launched a fresh marketing campaign for The Kyle & Jackie O Show in Melbourne, introducing the bold new tagline, “Radio Gone Rogue!”. Developed in-house, the campaign underscores the show’s unpredictable and unscripted character as part of ARN’s strategy to expand its Melbourne audience.
The integrated campaign spans outdoor, digital, social, and television channels. A new TV commercial, released on Sunday, leads the campaign with a comedic focus group format where participants critique Kyle Sandilands and Jackie ‘O’ Henderson without knowing the hosts are watching. Additional versions of the ad, each showcasing varied viewer reactions, will follow in the coming weeks.
The initiative builds on ARN’s earlier “We’re Behaving” campaign, which debuted in early 2025 and reignited interest in the show. With ratings growth achieved in the initial phase, the latest effort aims to draw in new listeners by leaning into the show’s distinctive format.
Lauren Joyce, Chief Audience & Content Officer at ARN, said: “The only thing routine about The Kyle & Jackie O Show is the timeslot – every morning it is unexpected and goes against the grain of formulaic radio. It’s a little bit rogue, in the best possible way.”
She added, “‘Radio Gone Rogue!’ taps into what listeners, both loyal and new, tell us they love most about the show; it’s bold, it goes where others won’t and frankly, it’s unswitchoffable.”
The campaign is now live across Melbourne, with outdoor displays, digital placements, and extended TV coverage scheduled to continue in the coming weeks.
CREDITS
Chief Audience & Content Officer – Lauren Joyce
Head of Marketing – Donna Gordon
KIIS Senior Brand Manager – James Duffield
Head of Creative Production – Sean Vandenberg
Creative Director – Ante Miocic
Director – Phoebe Edwards
DOP – Becky Lillyman
Cameraman – Josh Hayes, Luke Rodely, Lucas Corroto
Creative Servies Coordinator – Prue Bowtell
Music – West One Music
Sound Design – Todd Falusi
Graphic Effects & Grade – Nik Palin
Graphic Design – Gabrielle Revells & Mikey Fleming
Veteran content director Irene Hulme has seen radio partnerships thrive, fail, and evolve under pressure.
But in the wake of Bob Murphy’s controversial on-air comment about his ABC Radio Melbourne breakfast co-host Sharnelle Vella, she believes there’s an unlikely silver lining, one that could actually fast-track their on-air connection.
“It was a brand new show. They’d been on the air for 30 days,” Hulme told Mediaweek. “They were developing chemistry, I don’t think they had chemistry yet. But this moment, as unpleasant as it was for Sharnelle and as inappropriate as it was for the ABC, might help them get real. It might create an opportunity.”
Her view points to the heart of the matter. Now that the comment, the apology, and the backlash are on the record, the real story becomes what happens next?
Sharnelle Vella and Bob Murphy
Murphy’s on-air remark, joking that Vella used to work in a strip club landed poorly. Vella swiftly called it “gross” in real time, and the station responded with an immediate apology. But as the noise settles, Hulme suggests the incident could push the co-hosts into a more honest working rhythm.
“It’s like a new relationship or a first date,” she said. “This might take them from a nervy, cautious dynamic to something more genuine. Maybe now, they can agree that it happened. It wasn’t ideal. But they can work through it together.”
That emotional honesty, Hulme says, could actually make the show better. “You can always tell whether co-hosts are pretending to get on. The audience picks up on that. But if they’re vulnerable, if they commit to making it work, listeners will hear that too.”
GfK’s latest radio ratings show ABC Radio Melbourne dropped again, delivering just a 4.3 percent audience share, its lowest ever. The new breakfast show hasn’t yet resonated with listeners, and now, it faces the added challenge of rebuilding trust after the controversy.
“I think the audience may be listening with different ears, with more critical ears now,” Hulme said. “But having said that, the media moves so quickly. This story is going to be forgotten.”
And yet, the impression lingers. In the increasingly crowded Melbourne radio market, new shows rarely get second chances. Whether it’s for breakfast advertisers, news-hungry audiences, or public trust, perception is power.
Kyle Sandilands and Jackie O
The incident also drew unsolicited commentary from commercial heavyweights Kyle Sandilands and Jackie ‘O’ Henderson, who implied Vella overreacted and questioned the backlash.
“This isn’t freedom. This is control,” Sandilands said on his KIIS breakfast show. “Tell her how to respond or how she should feel?”
Jackie O added: “They don’t know each other. They’re trying to get a connection.”
But Hulme believes that’s an unfair take. “They know firsthand how long it takes to build an audience. I would’ve hoped they’d say something more like, ‘Hang in there, it takes time,’” she said. “Give them some optimism.”
Internally, sources say the ABC responded quickly with meetings and strategy sessions after the incident. But success now depends on what Murphy and Vella choose to do with the moment.
“They’ve got a shared understanding of the pressures that come with breakfast radio,” Hulme said. “If they try to turn this into an opportunity and not a stumbling block, they might find a stronger rhythm, something more real.”
For brands and media buyers watching ABC Melbourne’s performance, the question is no longer just about audience share, it’s about tone, culture, and how a public broadcaster connects with its listeners.
In a political year where ABC’s journalistic credibility will be under a microscope, trust on-air matters just as much as trust in content.
“There’s an intimacy to radio,” said Hulme. “And loyal listeners, especially ABC ones, are smart. They know when something’s off. But they also know when it’s getting better.”
Christian O’Connell didn’t mince words on air this morning, revealing the emotional intensity behind Jack Post’s unexpected decision to leave The Christian O’Connell Show on GOLD104.3.
“This has been a really intense couple of days. I asked Jack to take Thursday and Friday off to think about it,” O’Connell said. “He told me he didn’t need that time. He was still leaving, which is he literally called me out of the blue with no warning that he was thinking about leaving within 10 days.”
It was a bombshell for listeners and no doubt for The Australian Radio Network (ARN) who, back in 2021, had extended Post’s contract at the network for another four years.
But for O’Connell, who’s helmed the number-one Melbourne breakfast show with Post since launching in 2018, the impact is deeply personal.
Post, known for his dry humour and effortless chemistry with O’Connell and newsreader Patrina Jones, confirmed the news on air.
“I leave with nothing but gratitude and so much love for you guys, and for the show. It really has been an amazing period of my life and in some ways surreal to say goodbye. But I can’t tell you how much it means that you guys have been supportive, accepting, understanding of this decision.”
Post said he felt it was time to step away and allow new creative energy to emerge. “The show’s at number one. I love you guys. I deeply wish you all the best for the future, but it’s time for me to go. I think I have to say goodbye, breathe some space into my life away from this radio show, and see what comes next.”
O’Connell, Post and Patrina Jones
For many in radio, Post’s trajectory is the stuff of industry lore.
He cut his teeth with comedy juggernauts Hamish Blake and Andy Lee, working across their national drive show and building a reputation as a go-to audio producer and on-air foil.
But after Hamish & Andy stepped away from radio in 2017, Post found himself wondering what was next.
Enter Christian O’Connell, a UK radio star who had just relocated to Australia to launch a brand-new breakfast show. The pairing proved potent. Within two years, the program climbed to the top of Melbourne’s breakfast radio rankings, with Post a key ingredient in its success.
Off-air, Post has spoken openly about fatherhood and its transformative impact. In a 2023 interview, he revealed that becoming a dad made him re-evaluate everything, career included.
“I always thought I’d have this overwhelming moment of instant love,” he revealed on The Imperfects podcast while reflecting on his son’s birth. “But what I felt was a tidal wave of responsibility. It shifted how I thought about time, about priorities.”
That kind of introspection seemed to echo in his on-air farewell and in the Instagram post he shared this morning: “There is something in my gut telling me it’s time to close this chapter and write the next one.”
Post (second from left) with the team from The Imperfects podcast.
Post’s last day on The Christian O’Connell Show will be this Friday. O’Connell, who described Post as a “world-class talent” will launch a national search to find a new team member.
In true showman style, he’s also teasing “some big news” about the future of the show in the coming weeks.
Meanwhile, the team at ARN is full of praise: “We thank Jack for the incredible energy, creativity, and heart he’s brought to GOLD104.3 and to breakfast radio in Melbourne.”
For now, Melbourne listeners have five more mornings to hear the banter that helped define a radio era—and to say goodbye to a voice that, for many, has been part of their daily soundtrack for seven years.
As Post put it: “Knowing Christian has been one of the most profound relationships of my life. I’ve so much more to say about him, but for now I will simply say: I love you, mate. Thank you for everything.”
To hear Jack’s full announcement click here
Australian viewers will be able to watch every match of the FIFA Club World Cup 2025 live via Foxtel Group platforms following a new broadcasting arrangement with DAZN.
Under the deal, all 63 games of the newly expanded tournament, featuring 32 teams for the first time, will be available to subscribers of Kayo Sports, Foxtel, and BINGE. The coverage includes high-definition streams, highlights packages, and mini matches, with a dedicated 24/7 Club World Cup channel across all three services.
This agreement follows DAZN’s acquisition of the Foxtel Group, unlocking broader international football content for Australian audiences. Globally, DAZN retains international broadcast rights for the tournament.
Participating clubs in the 2025 edition include top-tier teams such as Chelsea FC, Manchester City, Real Madrid CF, Paris Saint-Germain FC, FC Bayern München, and CR Flamengo.
Rebecca McCloy, Executive Director – Commercial, Sport at Foxtel Group, said the inclusion of the tournament adds to the group’s extensive sports portfolio. “The FIFA Club World Cup 2025 joins our expansive list of sport available across the coming months including AFL and NRL action, Cricket, Formula 1, Supercars, netball and more,” McCloy said.
DAZN Group CEO Shay Segev added, “The addition of the FIFA Club World Cup 2025 to the Foxtel Group ecosystem unlocks the opportunity to extend our world-class global content and rights to Australians on a platform they know and love.”
The broadcast deal also presents new sponsorship opportunities for brands seeking to associate with one of football’s most high-profile competitions.
LEGO® Masters Australia will return to Channel 9 and 9Now on Sunday, 1 June at 7pm with its seventh season, Grandmasters of the Galaxy.
This series will see an international clash of top LEGO® creators as four Australian teams take on competitors from six countries across a series of advanced building challenges.
The upcoming season brings together twenty experienced LEGO® builders from Australia, Canada, China, Finland, New Zealand, Sweden, and the United States. Each of the ten teams of two comprises former finalists, champions or standout talents from their respective national series. The season will culminate in one team being awarded the title of Grandmasters of the Galaxy and $100,000 in prize money.
Returning to host is Hamish Blake, with Ryan “Brickman” McNaught reprising his role as judge. Blake’s comedic hosting and McNaught’s technical expertise have been a hallmark of the show since its inception. Sophie Monk will also make guest appearances in four episodes.
Participants will face a mix of storytelling, technical, and thematic challenges, including builds inspired by Harry Potter, flying LEGO® structures, and fantastical worlds. Highlights include appearances from past champions: Henry and Cade from Season 1, and Owen, who won Season 5, now paired with Gabby, a two-time top-four finalist.
The international lineup features winners from the USA, Finland and Sweden, as well as runners-up from China and New Zealand. Each team brings distinct creative and engineering strengths, from stop-motion animation to architectural precision.
Produced by Endemol Shine Australia for the 9Network, the series is based on the original UK format by Tuesday’s Child Productions and The LEGO® Group.
The Age and The Australian Financial Review (AFR) have both posted strong readership growth, according to the latest Total News Publishing figures released by Roy Morgan on May 19. The results are the first to incorporate Ipsos iris digital measurement data into the Roy Morgan Single Source.
The Age maintained its national lead over its main competitor, recording a total multi-platform readership of 5.23 million over the 12 months to March 2025. One in five Australians accessed The Age during this period, driven by its investigative reporting and premium lifestyle coverage.
Print readership for The Age‘s Monday to Friday editions rose to 280,000, up 12% year-on-year and 11% quarter-on-quarter. The Saturday edition climbed to 412,000 readers, a quarterly increase of 8%, while The Sunday Age saw a 9% annual gain to reach 383,000, in contrast to a decline for The Sunday Herald Sun.
Meanwhile, the AFR confirmed its status as Australia’s most read premium business title, with a cross-platform audience of 3.2 million. The masthead’s digital strength is reflected in the fact that 93% of its readers accessed content online. Print readership for the AFR reached 894,000 in the past four weeks.
The AFR’s weekday print edition posted its highest average readership in five years at 272,000. The Saturday edition also showed resilience, growing 6% year-on-year to reach 190,000. The AFR Magazine retained its lead among monthly business inserts, with 486,000 print readers, while Fin! Magazine posted 9% year-on-year growth, nearing the circulation of Wish.
Both mastheads contribute to Nine’s combined Total Publishing footprint, which now reaches 17.358 million de-duplicated Australians across print and digital.
The readership data was sourced from Roy Morgan Single Source with Ipsos iris integration, covering the rolling average for April 2024 to March 2025.
Allianz Australia has unveiled its new brand positioning, expressing the brand’s unwavering commitment to providing Australians with clarity, confidence and care throughout the insurance journey.
Developed in collaboration with creative partner Howatson+Company, the new brand promise centres around ’Care You Can Count On’, and the accompanying multi-channel marketing campaign aims to capture the feeling that comes from an insurer that acts with confidence and care at every stage.
Launching with a hero TVC directed by Finch’s Michael Gracey (known for award-winning movies like Better Man and The Greatest Showman) and set to Avril Lavigne’s I’m With You, the story follows a mother finch on a stormy quest to protect her egg — a metaphor for the storms and uncertainties in life.
Just as you think the finch can’t go on any longer, a soaring eagle glides in to support it, guiding her to her new home safely. It’s a cinematic embodiment of Allianz’s unique culture of care.
The TVC was shot in Australia and brought to life with world-class CGI from visual effects studio ALT VFX. It is supported by creative executions across cinema, YouTube, outdoor, digital and social. Media planning and buying was handled by Allianz’s media partner, Wavemaker.
“The Flight of the Finch’ is a bold new direction in how we communicate the essence of Allianz” Laura Halbert, General Manager, Customer Strategy and Marketing, said. “It moves beyond product attributes to celebrate the emotional reassurance and confidence you feel when you have genuine care you can count on.
“‘Care you can count on’ is brought to life in a number of ways including customer interactions, partnerships, community engagement, advocacy and education initiatives.
“For example, the recently launched Allianz Blue Eagle initiative which was designed through gaining insights from customers around how home care was important to them. The initiative aims to provide homeowners with the knowledge and tools they need to take important steps in maintaining their homes.
“Care isn’t some slogan on a wall at Allianz. It’s baked into the company and informs everything they So, we didn’t just want to talk about care, we wanted people to feel it.
“With a bit of guts, magic and Avril Lavigne, we used storytelling to lift the brand into fresh space in the insurance category. Proudly helping Allianz shape a brand platform that feels as distinctive as the way they do business,” she added.
Credits:
Allianz Australia
Laura Halbert, CMO, General Manager, Customer Strategy and Marketing
Gemma Cadwallader, Head of Brand & Sponsorships
Simon Edwards, Head of Strategy, Research & Design
Rebekah Eltringham, Senior Manager Brand
Howatson+Company
CEO: Chris Howatson
Group Managing Director: Renee Hyde
Chief Creative Officer: Gavin Chimes
Creative Director: Jared Wicker
Creatives: Megan Egan, Zak Hawkins & Jack Close
Group Business Director: Liz Stephens
Business Director: Georgia Price/Lucy Stock
Senior Producer: Caitlin Perz
Design Director: Reece Lawson
Studio Lead: Simon Merrifield
Wavemaker
Head of Strategy, Sydney: Marco Del Castillo
Client Partner: Laura Brady
Implementation & Activation Director – Isabella White
FINCH
Director: Michael Gracey
Executive Producer: Loren Bradley
Producer: Vivienne Jaspers
Director of Photography: Jeremy Rouse
Editorial: ARC
Editor: Patrick Correll
Post Production: ALT VFX
VFX Director: Col Renshaw
VFX Senior Producer: Celeste Fairlie
Sound: Mosaic
Music Supervisor: Trailer Media
EP: William Doig
Sound Engineer: Michael Thomas
SEEK has launched a new brand campaign highlighting that every Aussie can find their best job match using its AI-powered search and match functionality, with Droga5 ANZ, part of Accenture Song.
The campaign is launches with Tarzan, before he was the King of the Jungle, and Dorothy before she made it to Oz.
It will feature five iconic characters known for their jobs, captured just before discovering their true calling. Like all job seekers, each character possesses unique skills and aspirations that SEEK expertly matches to their ideal role.
This brad’s new campaign is an exciting build on SEEK’s iconic ‘SEEK and you shall find’ brand platform.
The new campaign, directed by Taso Alexander from Revolver, launches in Australia and New Zealand on 18th May across TV, outdoor, online video, radio, search, email, display, cinemas, social and SEEK -owned channels.
The media strategy was delivered by UM Australia, UM New Zealand and SEEK’s internal Media & Customer Engagement team.
Maryanne Tsiatsias, SEEK Chief Marketing Officer APAC, said: “Together with Droga5, we had the task of bringing the power of SEEK to life in a way that was both refreshing and distinctive while also tapping into the playful side of our brand personality.
“When it comes to looking for a job, we know how important it is for Australians and Kiwis to be able to find the right opportunities for them. Everything we do is centered on doing just that and we’re very proud of our unrivalled search and match functionality.
“It’s no coincidence that Australians and New Zealanders are almost six times more likely to find the best match for them on SEEK. Like the characters in our ads, no matter what their requirements, SEEK is where Australians will find the right job for them.
“As the region’s most trusted employment marketplace, and with the implementation of enhanced AI-powered search and match functionality, we wanted to bring this capability to life with simple, entertaining and hard-working advertising.
“Everything we do at SEEK is centered on helping job seekers and employers find their best matches and ensuring that when people do seek, they really shall find a job that meets their individual preferences and requirements. This campaign demonstrates one of the ways we do just that.
“We joined forces with Droga5 to develop a fun and impactful campaign that will drive talkability and we’re really proud of the results of the collaboration. We can’t wait to see how audiences respond, and we hope they enjoy all the surprises along the way.”
Droga5 Executive Creative Directors Joe Sibley and Hugh Gurney, added: “One of the things we are most proud about is how entertaining and expandable this campaign is. It’s well branded, tells you everything we want you to know and doesn’t sacrifice on entertainment value. We think people will love it.”
Credits:
Client: SEEK
Chief Marketing Officer, APAC: Maryanne Tsiatsias
Head of Marketing, ANZ: Philippa Jamieson
Head of Digital and Media, APAC, Mark Thiele
Senior Marketing Manager, Media and Planning, Kevin Alphonso
Senior Marketing Manager – Integrated Campaigns: Jasmine Taulla
Marketing Manager – Campaigns: Carly Robinson
Marketing Manager – Social & PR: Simone Gioia
Marketing Manager – ANZ Digital Marketing: Allison Downes
Senior Marketing Associate – Social & PR: Dylan Tucker
Senior Marketing Associate – Media & Planning: Belle Healy
Senior Marketing Associate – Programmatic: Christina Chow
Marketing Associate – Programmatic: Luke Pritchard
Creative Agency: Droga5 ANZ, part of Accenture Song
Chief Executive Officer ANZ: Matt Michael
Executive Creative Director: Joe Sibley
Executive Creative Director: Hugh Gurney
Head of Strategy: Dave Collins
Nat Head of Production/Producer: Romanca Mundrea
Senior Producer: Katie Wellbelove
Senior Art Director: Ben Horewood
Senior Copywriter: Michelle Canning
Design Director: Raphael Tamkalis
Designer: Noel Yeung
Chief Client Officer: Jayne Brady
Senior Business Director: Kim Thompson
Business Manager: Ingrid Zhang
Production Company: Revolver
Director: Taso Alexander
Managing Director/Co-Owner: Michael Ritchie
Executive Producer/ Partner: Pip Smart
Producer: Lib Kelly
DOP: Ari Wegner
Production Designer: Alex Holmes
Wardrobe: Sophie Fletcher
Post Production: The Editors
Producer: Isabella Key
Editor: Mark Burnett
Colourist: Edel Rafferty
Sound: Squeak E. Clean Studios
Executive Producer: Ceri Davies
Head of Sound: Paul Le Couteur
The Pistol has appointed Tudor Stefanescu to the role of Head of Owned Channels.
In the newly created role at the digital marketing agency, Stefanescu will be responsible for leading and growing The Pistol’s owned channel offering and SEO function, with a focus on content, email automation and loyalty.
He will work closely with The Pistol’s performance team to unite its paid and owned offerings to deliver strategic omnichannel solutions for clients.
Stefanescu a digital marketing expert and highly experienced agency leader, brings significant expertise in SEO, paid media, email marketing and content.
He brings more than 14 years of experience to The Pistol, most recently as Digital Performance Lead for Gumtree, where he ran multiple technical SEO work streams, leading agencies, development teams and product across four different technical stacks.
He has also had stints as Head of SEO for independent digital agency, GrowthOps, where he managed cross-channel digital marketing lead generation, along with an SEO team, and as Digital Director for iProspect leading SEO strategy and planning.
The Pistol CEO, Jaime Nosworthy, said: “Tudor is a welcome addition to The Pistol team. He brings a wealth of SEO knowledge and experience across a range of different verticals to the business, along with a track record for consistently surpassing KPIs and building rapport with his clients. His expertise will allow us to deliver more holistic media strategies for our clients, driving efficiency and better utilisation of owned channels.”
Stefanescu said of his appointment: “Joining The Pistol in the newly created Head of Owned Channels role is an opportunity for me to bring my digital marketing expertise to an award-winning agency, home to bold thinkers and innovation. I thrive in environments where I can use my skills in stakeholder management, data-driven methodologies and leadership to drive results. The Pistol’s focus on integrated strategy, technology and creative will allow me to use my experience and passion for results to deepen the agency’s client offering across paid and owned channels.”
Stefanescu’s appointment comes as The Pistol continues to grow its client stable, which now includes leading brands like DECJUBA, Vitasoy, Mars Petcare, The Brandbank Group, Prime Super, Melbourne Symphony Orchestra and Bosch eBikes, among others.
Top image: Tudor Stefanescu
The Daily Aus (TDA) has launched a new original podcast series examining the complex world of medicated weight loss.
Investigating Ozempic, hosted and produced by TDA’s Features Editor Emma Gillespie, dives deep into Australia’s medical weight-loss industry, offering unprecedented insight into how young people are engaging with high-profile medications like Ozempic, Wegovy and Mounjaro.
Over three episodes, the podcast explores the complex medical, ethical, and commercial landscape behind the global rise of these drugs with in-depth interviews, firsthand accounts, and commentary from health professionals.
The series also raises questions about patient care, safety protocols, and marketing and prescribing practices in a rapidly evolving health sector.
A survey of more than 23,000 TDA followers found 11% of young people have used Ozempic or a similar drug, while 43% of respondents said they want to (or have previously wanted to) try weight-loss medication.
“Ozempic has dominated headlines over recent years, but the experience of young Australians has been missing from the conversation,” Investigating Ozempic host Gillespie said.
“We received overwhelming feedback from our audience, including hundreds of lived-experience anecdotes, warranting further scrutiny into how these medications are being prescribed, monitored and marketed to young people. This series aims to provide clarity and context to an issue that touches many aspects of young people’s lives.”
The first episode of Investigating Ozempic is available now on Spotify and other streaming platforms, with parts two and three dropping on 20 and 21 May, respectively.
The Investigating Ozempic podcast launch by The Daily Aus comes after the recent launch of TDA Finance, a new weekly newsletter that aims to empower young Australians with the financial literacy they need to make sense of the world.
Amplitude has introduced a suite of enterprise-focused marketing capabilities aimed at bridging the gap between marketing campaigns and product engagement outcomes. The updates allow teams to track the full customer journey, from first click through to long-term value, within Amplitude’s digital analytics platform.
According to Mark Drasutis, Head of Value, APJ at Amplitude, the new features respond to growing pressure on marketers to justify every dollar spent. “Amplitude’s new capabilities give marketers a clear and immediate view into which channels, campaigns, and tactics are actually driving product engagement and customer value,” he said.
The announcement comes as Amplitude reports a 200% increase in usage of its marketing tools over the past year, amid growing dissatisfaction with legacy martech platforms.
Key features in the release include real-time marketing dashboards, enhanced data table visualisations, and entry analysis to identify key acquisition paths. Additionally, heatmaps and no-code experimentation tools allow marketers to identify friction points and test landing page optimisations quickly. The platform also offers integrations with ad networks such as Google, Facebook, LinkedIn and TikTok, enabling precise audience targeting through cohort sync.
Unlike traditional platforms that focus on surface metrics like clicks and impressions, Amplitude’s solution ties campaign touchpoints directly to in-product actions, including engagement and customer lifetime value.
External analysts have also endorsed the approach. Liz Miller, VP & Principal Analyst at Constellation Research, commented: “Organisations urgently need tools that better connect marketing and product data… This is where the challenge is being met.”
Marketers at Home Shopping Europe are already using the platform to align marketing and product functions. Austin Costello, Team Lead Customer Intelligence, noted the shift from opaque models to data-driven decision making: “With Amplitude’s flexible and transparent attribution logics, we now clearly see which marketing efforts drive customer behaviour—no more black-box models.”
Amplitude’s platform currently includes Analytics, Experiment, Activation, Session Replay, and Guides and Surveys. More details are available via the company’s launch webinar and blog.
Are Media has appointed Nisar Malik as Head of Sales, Victoria, effective 26 May 2025. The move is part of the company’s strategy to enhance its digital capabilities and drive advertising growth across its omnichannel platform.
With over 25 years of experience in media sales across digital, television, and cross-platform channels, Malik will lead sales operations for Victoria. He will report to Anna Quinn, Director of Sales, and collaborate with Are Media’s national sales leadership team to implement the company’s commercial strategy.
Malik joins from his previous roles at Nine Network, where he was Group Business Director, and ViacomCBS (now Paramount) as National Sales Director. He also held the position of Sports Sales Director at Network Ten.
“We’re thrilled to have Nisar on board,” said Anna Quinn. “His deep experience in digital and integrated media solutions, combined with his leadership and commercial expertise, will be instrumental as we continue to evolve our advertising offerings and meet the growing demand for more dynamic, connected solutions.”
Commenting on his appointment, Malik said, “I’m excited to join Are Media at such a transformative time for the company. With its incredible portfolio of trusted brands and its recently announced partnership with Dotdash Meredith, Are Media’s position as Australia’s #1 women’s lifestyle publisher offers an unmatched opportunity to innovate and deliver powerful, integrated solutions to clients.”
The partnership with Dotdash Meredith expands Are Media’s access to a broader audience and content solutions, supporting its push toward digital transformation and enhanced programmatic advertising offerings.
Quinn added: “Nisar’s expertise in driving digital transformation is perfectly aligned with our vision to grow Are Media’s digital footprint and deliver innovative, integrated media solutions to clients.”
The winners, from the shortlisted names below, will be announced at the Next of the Best Awards at the W Sydney on Friday, June 13.
Sponsored by News Corp Australia, LISTNR, and Rolling Stone AU/NZ, this promises to be an unforgettable night.
As Briana Domjen reports in The Daily Telegraph, the ex-news boss, who’s now steering the NRL Perth Bears, has reportedly told friends he’s keen to swap sackings for signings.
De Ceglie was brought in last year to oversee a brutal round of redundancies that saw 150 jobs cut, including some well-known faces.
Overton, who’s led the bulletin since 2009, says the newsroom remains strong and united, despite the company’s recent turbulence.
That turbulence came in the form of last year’s independent review into Nine’s workplace culture, which found systemic issues with bullying, abuse of power and harassment, most notably within the News and Current Affairs division.
As Steve Jackson writes in The Australian, word is, he told radio boss Ben Latimer he’d prefer to dial it down to just three days a week.
Macdonald’s been hosting the slot since January, stepping in after Sarah Macdonald’s abrupt exit.
As Sam Buckingham-Jones writes in The Australian Financial Review, the admission comes as the Australian Tax Office continues an ongoing audit now stretching into its second year.
Murdoch, who also chairs News Corp and helms Fox Corporation in the US, has owned Nova for over a decade
As John Buckley writes in Capital Brief, Sandon’s campaign aims to shake up the board, but Kelly insists both moves are grounded in solid strategy, not just shareholder appeasement.
Kelly made it clear that the dividend resumption wasn’t a quick fix to win favour but a result of careful discussions with investors following the half-year results.
“We just focus on ourselves,” Phillips revealed. “When a show’s having a tough time, there are a lot of flow-on effects for other people.”
As Sarah Patterson writes in Radio Today, the Nova 100 breakfast trio leaned into themes of resilience, reinvention and the unexpected second act that’s seen them bounce back from being bumped off KIIS 101.1 to become one of the city’s most talked-about comeback stories.
As Cam Wilson reports in Crikey, The site, which lets punters bet on real-world events using cryptocurrency, is illegal to operate in Australia.
Polymarket’s growing profile, boosted in part by high-profile fans like Elon Musk during the US election cycle, has made it a lightning rod for regulatory attention.
As Josh Taylor writes in The Guardian Australia, the new feature, known as voice and face enrolment, kicked in by default from March.
Microsoft had flagged the update late last year, but the message clearly didn’t land with everyone.
As David Knox writes in TV Tonight, once seen as a simple catch-up hub, iview is now vying for top-of-mind status in Australia’s increasingly crowded BVOD space.
Roberta Allan, Head of Programming, Acquisitions and Streaming, laid it out plainly: viewers might use only three or four apps a week, and iview wants to be one of them.
As Zoe Samios writes in The Australian Financial Review, he’s replacing Shane Howard and will officially take the reins on July 23.
Warburton isn’t just any executive, he’s a keen motorsport fan who led Supercars between 2013 and 2017, so this feels like a homecoming.
According to Danielle Long in The Australian, this comes hot on the heels of Optus, which is wrapping up its own agency search.
Six agencies have been invited to battle it out, aiming to help Vodafone craft a new strategy to win over more customers.