The Media Federation of Australia (MFA) has introduced the Psychosocial Safety Code of Conduct, aiming to improve workplace wellbeing across the advertising supply chain.

The initiative represents a united commitment across the industry to set a new standard for workplace wellbeing while ensuring compliance with evolving Workplace Health and Safety (WHS) obligations related to psychosocial risks.

Andy Wright, co-chair of Mentally Healthy Group, facilitated the panel discussion featuring Anneliese Douglass, director of marketing and communications at Nestlé, Mark Coad, CEO of IPG Mediabrands, and Cathy O’Connor, CEO of Ooh!Media, about the code, actioning its objectives and what it means for the industry.

Moving away master-servant position

Speaking to the relationship between agency and brand about the code of conduct, Douglass acknowledged that the partnership between any two businesses working together is never perfect.

“There’s always going to be niggles and things that are issues on the client-side because we don’t understand how the workload required to get jobs done in a creative agency or a media agency, and vice versa. I’ve heard many an agency person go ‘what is that market doing?’”

Douglass noted that the key to overcoming this obstacle is having transparent conversations.

“When an issue arises, being able to just very transparently get in a room and have an honest conversation with your CEO or whoever leads that piece of business is the big unlock,” she said. “That’s moving away from that master-servant position and saying, ‘I want people to work happily on my business.’

“How do I do that? Understand what their issues are, and how can we fix it? Now, it doesn’t necessarily mean there’s always going to be a perfect fix as well.”

“But it’s a great outcome, because clients want that to your point,” Coad chimed in.

He noted that his organisation has previously had those conversations with people or clients about feeling the need for better treatment and that they have been good, fruitful conversations.

“It’s not a master servant thing. Clients don’t know that their people aren’t treating their partners well.

Douglass added: “And that’s where it comes back to being clear about, are your internal behaviours that you expect within your company being displayed instantly? It’s that simple.”

‘We work on the business, they run the business’

When it comes to supporting teams at actioning objectives around safe work environments, O’Connor said that it comes down to ways of working.

“I think we need to be pressing more decision-making down the line, particularly in the younger workforce. They want to have more impact, want a company to have a great reputation and a good corporate system, and their demands on us are very high. Yet we often control decision-making in bottlenecks.

“So it is just saying, what is the leadership going to focus on and what fuels runs the business. We work on the business, they run the business, and that’s a shift for some.”

O’Connor also noted checking on the biases of senior leaders, particularly those whose understanding of the workplace culture as hard work, harden up and no whining, as outdated.

“It’s creating the decision-making power down the line, that they can control their workplace. It’s training them to be able to deal with difficult conversations. It’s easy for us, because we’ve been around a while, we’re pretty well schooled at tough conversations. It’s a capability that’s born of experience, and they don’t have experience.

“I wouldn’t say I have the answers. I’d just say the awareness of people’s journey with this is important. So having the lines of communication is really important.”

‘Talent will decide who they want to work for’

While the MFA psychosocial code of conduct promotes guidelines and framework for a safer, healthier work environment in media organisations, Wright asked how companies, particularly agencies, will ensure that the code will be used in good nature and not as a competitive advantage to win over prospective talent.

Coad acknowledged that there can be a competitive nature between agencies who invest in talent, teach their leaders and are good employers, and those who do not.

“That’s a competitive advantage; the laws of the jungle will prevail because talent will decide who they want to work for.”

He also noted that the differences in offerings to talent between independent agencies and holding companies.

“The reality is we (holding companies) invest in a lot more of that than possibly a smaller operation might, so don’t come to us and expect us to give you our good things and make us a really good employer – but that happens.”

Coad said that when it came to the competitive advantage over talent: “We thought, no, it’s way too important. This needs to be for the whole of industry, so that’s why this is a very open job. Everyone’s been introduced as a part of it, so anyone will beyond on the MFA.”

Top image: Andy Wright, Mark Coad, Anneliese Douglass and Cathy O’Connor

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The debate over remote and hybrid work is still a hot topic in the media industry. At the IMAA Indie-Pendence Day conference, top execs from Nine, News Corp, ARN, and Mamamia shared how they’re tackling the challenge, weighing the need for flexibility against the benefits of in-person collaboration.

Striking the right balance

Media leaders generally agreed that hybrid work is here to stay, but they also acknowledged that in-person collaboration remains critical for creativity, innovation, and workplace culture. Nine CEO Matt Stanton emphasised the importance of bringing people together, especially as the company undergoes cultural transformation.

“We do feel that it’s good to make sure we have collaboration and time together,” Stanton said. “You spark off conversations, ideas form organically, and you don’t get that same level of engagement over Zoom.”

Michael Miller, News Corp Australasia executive chairman, added that while hybrid work allows flexibility, there is growing concern about adherence to policies.

“You can state what your policy is, but if employees decide to stay home because of the weather or a train strike, then you have an enforcement problem,” Miller said. “We need leaders to step up and reinforce that there are moments when it matters to be in the office.”

The impact on young professionals

ARN Group CEO Ciaran Davis raised concerns about the long-term effects of remote work on younger employees. He noted that early-career professionals risk missing out on valuable mentorship and networking opportunities when working primarily from home.

“The impact of COVID and remote work means younger generations aren’t getting the same office experience that many of us benefited from,” Davis said. “Business is about people, connection, and understanding your peers. If you can’t have a conversation face-to-face, if you can’t build relationships, you’re at a disadvantage.”

Mamamia CEO Natalie Harvey took a firmer stance, arguing that career growth is closely tied to visibility and presence in the workplace.

“If you want to stagnate in your career, work from home all the time,” Harvey said. “If you want to be at the cutting edge, you need to show up.”

She added that while personal flexibility is important, businesses must prioritise productivity and collaboration over individual convenience.

A call for flexibility, not rigidity

Despite differing views, leaders acknowledged that there is no one-size-fits-all solution. Some roles require a physical presence more than others, and companies must strike a balance between autonomy and accountability.

Harvey suggested that flexibility should go both ways. “Being strict and saying ‘I only come in three days a week’ isn’t flexibility,” she said. “Real flexibility is saying, ‘I need to stay home for a legitimate reason today,’ not because it’s simply more convenient.”

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Meghan Markle has been caught up in yet another drama surrounding the brand name of her new lifestyle offering.

Originally called ‘American Riviera Orchard’, Markle was forced to rename the company after running into trademark issues. The Duchess took to Instagram to announce the new moniker, ‘As Ever’, claiming she made the change as the original title was “too limiting”

“As Ever essentially means as it’s always been and if you followed me since 2014 with The Tig, you know, I’ve always loved cooking and crafting and gardening, this is what I do,” Markle said.

“And I haven’t been able to share it with you in the same way for the past few years, but now I can.”

But now it seems Markle may have run in to yet another trademark issue with the new name.

An independent clothing brand from New York, also called As Ever, has now come forward voicing its concerns about Markle’s latest venture. Owner Mark Kolski has since taken to the company’s Instagram account addressing what he says has been an “outpouring of support and concern” regarding the brand. “We are aware. We are not affiliated,” he said.

Kolski continued: “In 2017, As Ever became official and I started manufacturing. There are several women and events that were instrumental in the creation of our brand. I want to thank them again. I also want to thank Robert Chauca and his family run factory. Without all of them, As Ever would not exist.

It’s 2025. We are grateful to still be here making clothing in New York & New Jersey. We are grateful for all the customers coast to coast and world wide that have supported our venture. We will continue As Ever,” he said.

In an interview with The Sun, Kolski said he is looking at options but doesn’t want to change the company name.

“I’m a very small business, it’s a family-run operation. I’m essentially a one man band,” he said. “This new venture has the power and money of Netflix behind it. Even if I wanted to do something I don’t think I have the behemoth of lawyers and money that are behind this.”

Pictured: Meghan Markle

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PepsiCo, Zenith and Special Australia were among the big winners at 2025 TikTok Ad Awards.

The awards, now in its second year, brought together more than 200 senior marketing and agency leaders for the annual event.

Nine Australian top brands, creative, and media agencies were awarded for delivering some of the most engaging and impactful campaigns. The winners demonstrated how the platform can drive meaningful results for businesses of all sizes, from creator collaborations to community-driven campaigns.

Taking the title of Advertiser of the Year for its innovative marketing of the Twisties and Mountain Dew was PepsiCo. The company seized first-to-market opportunities, creating campaigns that resonated with communities and sparked conversations on TikTok throughout 2024.

The Twisties campaign also won the Greatest Creative Campaign award for The Great Flavour Debate, which featured Robert Irwin and G Flip.

The campaign reignited Australia’s iconic ‘Cheese vs Chicken’ debate, drove over 250,000 fan votes to crown ‘Chicken’ as the nation’s favourite Twistie flavour. Twisties transformed the debate into a nationwide conversation, achieving a 31.3% increase in Ad Recall and an 18.1% lift in Brand Awareness.

Media Agency of the Year was awarded to Zenith for its innovative use of creator and user-generated content. Using one of TikTok’s measurement partners, Lifesight, they focused on results-driven planning, proving their expertise in high-volume content strategies that deliver better outcomes for clients.

Special Australia was named Creative Agency of the Year for its ability to seamlessly integrate TikTok-native storytelling into campaigns that resonated with Australian audiences.

The Greatest Performance Campaign award went to Ubank for its ‘Cheap Ad, Great Rate’. The clever, low-budget campaign was designed to cut through traditional banking ads to connect with young Australians. The campaign, used humour and attention-grabbing marketing stunts, to promote Ubank’s savings rate, resulting in a 40% increase in new customer acquisition and a 10.4% uplift in ad recall.

Full list of winners at the TikTok Ad Awards:

1. Greatest Brand Effectiveness Campaign: Woolworths | Fresh Fuels the Best in All of Us: The Paris 2024 Game.
2. Greatest Creative Campaign: Twisties | The Great Flavour Debate.
3. Greatest For Good Award: Shift 20 | Casting Call.
4. Greatest Performance Campaign: Ubank | Cheap Ad, Great Rate.
5. Greatest Small Business: La Vida Homes.
6. Advertiser of the Year: PepsiCo.
7. Creative Agency of the Year: Special Australia.
8. Media Agency of the Year: Zenith Australia.
9. For You Award: Kim Zorn, Global Performance Director at Princess Polly.

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The discourse surrounding data and privacy is often met with confusion, fear and intimidation, particularly among consumers and regulators.

IAB Australia CEO, Gai Le Roy and Shannon Fitzpatrick, Fitzpatrick Media and Advertising consultancy director, took to the stage at the IMAA Indie-Pendence Day Conference to share their thoughts on how the independent media agency sector can “do a better job” in demystifying the conversation around it.

‘We haven’t as an industry explained that value exchange well enough’

Diving right into the topic, Le Roy said that independent agencies need to “do a better job” in explaining what data collection is to regulators and consumers.

Le Roy highlighted security as an element that indies agencies should work toward improving knowledge and understanding.

“Targeting advertising isn’t a problem until suddenly a client’s data is breached in some way. When we talk to regulators and politicians, they jump straight to data breaches when it comes to privacy.

“The more we can do to limit breaches, to have privacy-enhancing technology in terms of data, the better it will be for all of us.”

She also noted harm as the other element agencies need to better address. “We probably all get annoyed by seeing the same pair of shoes, on the targeting side of things, but it’s when it goes up the chain that we see the harm and that becomes a problem.

“We need to do a better job, and I’m watching closely. IAB in Canada at the moment are doing a campaign trying to talk directly to consumers to say, ‘hey ads aren’t all bad, they do fund a lot of media, services, can inform you on bits and pieces’, but we haven’t as an industry explained that value exchange well enough,” she added.

‘The world will keep some of those guard rails up’

Fitzpatrick then went on to ask Le Roy about the impact of Trump rescinding Biden’s executive orders around AI on the Australian market.

She noted that the impact of Trump’s decisions will have an impact on the Australian market. “But from a regulation and a governance point of view, just last week the privacy commissioner here signed a paper along with the UK, South Korea, France, a few other markets on agreeing on principles of approaching AI.

“So, I’m hoping that approach from other markets in the world will keep some of those guard rails up, and I can’t see that going away with any change of government or same government in Australia.

“From a product point of view, the US is obviously where the big models and players are, but government, local, the governance piece will still be controlled locally,” she added.

‘Don’t see it always as a pain in the ass’

Le Roy also urged indies to stay across the ever-changing industry by investing in upskilling, seeking the right external consultants and doing data and pixel audits.

“Just keep up to date with that side of things because that compliance piece is coming down to smaller companies. Don’t see it always as a pain in the ass, it does make you think about your consumers and your customers. Try and flip it as more of an opportunity. It’s a bit of a cliched way of looking at things, but it is time to stop and go, would someone understand how I’m using their data – that’s important to stop and think about that.”

For Fitzpatrick, he recommended following industry bodies, such as the International Association of Privacy Professionals, as well as industry and trade press to keep abreast of any changes.

He also noted keeping up to date with the value proposition of privacy and the Australian Privacy Reform Bill Tranche 1 changes.

Fitzpatrick said that while coverage on the changes was limited, it was significant to note the statutory tort and the impact of new criminal laws. “Before Tranche 2 hits, start working towards that as a model for your business.”

Top image: Gai Le Roy and Shannon Fitzpatrick

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The impact of the U.S. President Donald Trump’s proposed trade tariffs may seem like issues for policymakers and trade officials, however, they carry ripple effects that will be felt across marketing, media, and commerce.

We have already seen the local impact of Trump’s threats to penalise countries imposing digital service taxes on U.S. tech firms, with the government’s u-turn surrounding the News Media Bargaining Code.

The government’s half-hearted and sluggish attempt to nudge the digital platforms into financially supporting local media operations via the threat of a digital levy has officially gone on hold. With the approaching Federal election, it was already clear that the government would struggle to legislate its promised policy. However, with Trump’s escalating economic confrontations on a global scale, the issue has now been shelved indefinitely.

These levies, aimed at ensuring fairer contributions from digital giants, could prompt tech firms to renegotiate agreements or withdraw from them altogether. If Google and Meta pull back, media organisations, including major players like Nine Entertainment, News Corp Australia, and the Australian Broadcasting Corporation (ABC), could face a funding crunch, leading to reduced coverage, layoffs, or even shuttering smaller news outlets.

The impact for advertisers is significant. Australian news publishers have been an important part of the digital advertising ecosystem, offering credibility and audience trust. A reduction in their influence may push more advertising dollars toward non-news digital platforms, which come with their own brand safety and misinformation risks.

If media platforms like Meta and Google start withdrawing or limiting their agreements with Australian news publishers, they could regain even more control over digital ad distribution.

For brands, this means less bargaining power when negotiating advertising placements. Google and Meta already dominate digital advertising, but their competition with news publishers has helped maintain some level of market balance. If news media loses funding and scale, brands will have fewer high-quality inventory options, leading to potential cost increases and a greater dependency on tech platforms with opaque ad pricing structures.

One of the unintended consequences of a strained news ecosystem is a less diverse and pluralistic media environment. If small and medium-sized publishers struggle to stay afloat, Australia could see further media consolidation, where only the largest publishers and digital giants survive. This means fewer independent voices, less investigative journalism, and more homogenized content.

For marketers, this presents a challenge. A diverse media ecosystem fosters creativity, engagement, and nuanced storytelling opportunities. Without it, brands will have fewer ways to reach niche, high-value audiences in meaningful ways. CMOs should prepare for a future where their audience cohorts may shift as access to high-quality, independent journalism declines. Marketers relying on premium content partnerships may need to rethink their approach to audience targeting and brand positioning.

Trump’s tariffs might seem like a distant geopolitical issue, but their effects will be felt in the boardrooms of Australian marketers. A weakened news industry benefits no one except digital monopolies, and brands that fail to anticipate these shifts may find themselves with fewer quality advertising avenues, higher costs, and reputational risks.

For brands and marketers, the time to act is now. Adapting media strategies, supporting local journalism, and diversifying spend will be key to navigating this turbulent landscape. Australia’s media ecosystem and advertising industry’s future depends on it.

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Mazda Australia and CHEP have unveiled a bold national campaign for the new BT-50.

The integrated campaign introduces “Give It Heaps” – a new creative platform that is a rallying cry for those who want to get more out of life, and a promise that the BT-50 is a ute that can stand up to whatever you throw at it.

At its heart is the story of the legendary “Robbo”, a character whose reputation for mastering every extreme task, challenge and hobby has made him a local hero, thanks to the capability and dependability of his trusted BT-50.

“The new BT-50’s bold design and capability perfectly embody the Australian spirit of giving it your all. We’ve developed an idea here that celebrates that ethos and hopefully it inspires many Aussies to get out there and give it heaps in a BT-50,” said Ashlin Moore, national brand manager at Mazda Australia.

Glen Dickson, deputy chief creative officer at CHEP Network, added: “The more you put into life, the more you get out. The never-revealed hero of our spot embodies this philosophy: going the extra mile to get the job done. Backed up by a ute that’s just as capable he is.”

The campaign launched on February 16 across television, online video, social media, CRM and large format outdoor including special build executions at iconic sporting grounds across the country. The integrated campaign extends to owned channels, dealerships nationwide and will also feature across trade shows and Mazda’s sponsorship with the North Melbourne Football Club.

CREDITS
Client: Mazda Australia
National Brand Manager: Ashlin Moore
Brand Marketing & Sponsorships, Senior Specialist: Bella Kurth
Senior Manager, Brand Marketing & Partnerships: Lynsey Murtagh

Agency: CHEP Network
Production Company: The Sweetshop
Director: Mark Albiston
Producer: Tom Davies
Co-Managing Director: Edward Pontifex
Co-Managing Director: Greg Fyson
Executive Producer: Kate Roydhouse
DOP: Marty Williams
Art Director: Lucinda Thompson
Casting: Peta Dermatis @ Studio P

Edit House: ARC Edit
Offline Editor: Joanna Scott
Colourist: Matic Prusnik
Online Operator: Eugene Richards
Post Producer: Winnie O’Neil & Amelia Walton
Sound Engineer Matt Thompson
Music Supervision: Michael Szumowski, Big Sync Music

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Endemol Shine Australia, part of Banijay Entertainment, has announced a global partnership with Tokyo Broadcasting System Television (TBS), the network behind hit formats like Ninja Warrior and Takeshi’s Castle.

The co-development deal will allow Endemol Shine Australia to adapt TBS’ new and existing formats for Australian and international audiences, blending both companies’ expertise to expand content offerings for networks and streaming platforms worldwide. Under the agreement, Banijay Entertainment has a first-look arrangement to produce the co-developed formats across its global network.

Chief executive officer at Banijay Entertainment, Marco Bassetti, said: “As a content powerhouse, Banijay Entertainment prides itself on being a home for the world’s best creative talent and a partner to leading ideators in the market. Via this all-new agreement, Endemol Shine Australia has a unique opportunity to delve into TBS’ portfolio to apply its expertise in fostering new global hits and supersizing reimaginations.

“Diversifying and complementing our own catalogue of standout titles, the collaboration will also lean on our 21-territory-strong footprint to localise and scale these next generation superbrands,” Bassetti said.

The first project in development is a fresh take on the strategic game show format, Actor Vs Reactors, created by Junya Ueda. Reinvented by Endemol Shine Australia as The Insider, the show features celebrities caught in elaborate pranks, with one secretly in on the joke.

The challenge? The rest must uncover the Insider before they claim the prize money.

Chief executive officer at Endemol Shine Australia, Peter Newman, said: “We have a worldwide reputation for creating our own groundbreaking formats and supersizing existing ones. Working alongside TBS on this exciting initiative, we are excited to apply our creative lens to reinventing these local formats for a global audience. With The Insider, we have a title built for a broad audience – unpredictable and attention- grabbing.

“Combining the thrill and addictiveness of strategic gameplay, with explosive laugh-out-loud excitement, this hysterical genre-busting show promises surprises, deception, celebrities, comedy and sleuthing – perfect ingredients for a universal travelling hit,” Newman said.

TBS, one of Japan’s largest media companies, has a long history in sports entertainment reality TV, with Ninja Warrior – originally known as SASUKE – airing since 1997 and sold into 160 territories. The Endemol Shine Australia collaboration builds on its existing relationship with TBS, having previously produced Ninja Warrior for the Australian market.

Executive officer of TBS Holdings, Katsuaki Setoguchi, said: “TBS has designated FY2024 as the ‘First Year of Global Business’, marking our commitment to strengthening our presence in the global market.

We are thrilled to have established a partnership with Endemol Shine Australia, renowned for their outstanding creative capabilities as part of Banijay Entertainment, a leader in the global content market. We have high expectations for the innovative unscripted format that this collaboration will bring to the market; our first project, The Insider, combines the classic prank elements of Japanese variety shows with Endemol Shine Australia’s supersizing prowess. We look forward to delivering a brand-new form of entertainment to audiences worldwide,” Setoguchi said.

While, Jun Fukai, director of global gales and development at TBS Holdings, said: “In recent years, our Global Sales and Development Department has been focusing on format development with global expansion in mind. In July of last year, the team from Endemol Shine Australia visited Tokyo, where they engaged in three days of in-
depth discussions with the TBS Global team and TBS creators.

“From over 20 proposals, we carefully selected a project to bring to the global market. We have high hopes that The Insider will captivate audiences worldwide and introduce fresh innovation to the global entertainment landscape,” said Fukai.

Pictured: Peter Newman, Elliot Spencer and Shun Fukaya

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In this episode, we hear from Emma Jensen – Vice President of Small Business at OPTUS.

Emma’s story begins with a shock moment—a completely unexpected separation from her husband that left her feeling like she had failed for the first time in her life. As a natural problem solver, Emma was used to finding solutions and controlling outcomes. However, this event was different; it was beyond her control and left her grappling with a deep sense of failure.

One of the most difficult moments Emma shares is a counselling session where her husband confirmed the end of their marriage. Rushing to the appointment, she accidentally dropped her phone down a drain.

In the midst of this chaos, a stranger helped her retrieve it, and Emma realises, “There is always help there, whether it’s from a stranger, whether it’s from your partner.” This small act of kindness became a symbol of hope and resilience for Emma as she rebuilt her identity, confidence and life moving forward.

While devastating and difficult, Emma’s journey has many silver linings, including how it helped her redefine her approach to leadership. As someone who once adhered to a rigid, masculine style of leadership, she now embraces her femininity and the unique strengths it brings. “It’s okay to be you. It’s amazing to be you,” she shares, encouraging women to bring their authentic selves to the workplace.

Today, Emma has built a beautiful, blended family and maintains a strong relationship with her ex-husband. She credits this to intentional effort and the willingness to leave her ego aside for the collective good.

Emma’s story is devastating and vulnerable, but also a testament to resilience, community, and the power of uncomfortable growth.

So whether you’re navigating your own curveballs or seeking inspiration for personal growth, Emma’s journey offers valuable insights around dealing with really difficult challenges and ultimately growing through them.

Subscribe now

Learn more about Uncomfortable Growth here.

The world doesn’t need more stories of success; it needs real conversations about resilience, vulnerability, and the human spirit’s incredible capacity to turn trials into triumphs.

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

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Are Media’s marie claire has launched a modern redesign of its monthly print edition as the brand marks 30 years in Australia. The refresh debuts in the March 2025 issue, available today, featuring an exclusive cover shoot and interview with Renée Zellweger.

The redesign is part of a year-long anniversary campaign, which will include special events, a refreshed look across print and digital, and a bumper birthday issue in September. Alongside the print update, marie claire will roll out enhanced digital content, including exclusive video executions integrated across its platforms.

Editor, Georgie McCourt, said: “marie claire has always been the thinking woman’s brand, delivering an unrivalled mix of style and substance to our smart, affluent audience. This new, reimagined edition is the first step in a whole new chapter for the brand.

“Our vision for marie claire is to continue to create a movement that celebrates creativity, diversity, and the extraordinary narratives of women across the nation,” McCourt said.

To mark the anniversary, the publication will introduce new editorial sections designed to further engage its Australian audience.

The “Worth It” section will focus on luxury fashion and accessories, offering a curated guide to effortless style. It will also embrace affordable fashion, with new pages dedicated to high-low styling placed at the front of the magazine.

The “Curated By” section will go beyond traditional recommendations, highlighting emerging talents, travel destinations, and design pieces selected by the editorial team. The refreshed edition will also include first-person beauty essays and an expanded focus on health, travel, and lifestyle trends.

Are Media general manager of luxury, Nicky Briger, said: “marie claire stands tall as Australia’s pre-eminent fashion publication over the past three decades. We have bridged traditional print luxury with innovative digital storytelling, something that allows us to create a media experience that is as multifaceted and dynamic as the women we talk to.”

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Enigma has appointed Joanna Lilley as its new managing director in Sydney.

She will lead Enigma’s Sydney team, driving key client relationships while working closely with Newcastle managing director, Jack Mason, brand strategy head, Olivia Hannah Matthews, and executive planning director, Karl Bates and reporting to Enigma founder Lisa Sutton Gardner.

Free TV Australia has welcomed the federal government’s decision to suspend the Commercial Broadcasting Tax (CBT) for one year from June 2025, as announced in the December 2024 Mid-Year Economic and Fiscal Outlook. The temporary suspension will alleviate around $50 million in costs for Australia’s commercial broadcasters, who continue to provide free, high-quality television content to audiences nationwide.

Bridget Fair, CEO of Free TV, described the move as a “positive first step” towards eliminating what she termed an outdated and unfair financial burden on the industry.

“This is an important first step to removing an outdated and unreasonable burden on commercial television broadcasters, and we thank Minister Rowland for implementing this measure today. Free TV broadcasters already spend $1.67 billion a year on Australian content for the benefit of all Australians and are subject to a raft of additional regulatory requirements that do not apply to global digital giants we compete with,” Fair said.

Calls for permanent abolition

While acknowledging the temporary relief, Free TV is urging the government to permanently abolish the tax, which it argues is a legacy levy that no longer serves its original purpose.

“The CBT is nothing more than a disguised super profits tax, a hangover from the percentage of revenue licence fee first imposed on broadcasters in 1964,” Fair said. “It is now time to permanently remove the significant handbrake on the commercial television industry that the CBT has become. It is extremely important that Government recognises real and material regulatory costs, and the value of public goods that commercial television broadcasters provide, when considering industry tax settings.”

Free TV has committed to working with the government and political parties to secure the full removal of the tax, citing its continued impact on the sustainability and competitiveness of Australia’s free-to-air sector.

The background on CBT

• The 4.5% percentage of gross revenue licence fee was converted to the Commercial Broadcasting Tax in 2017 as part of regulatory reforms aimed at improving the financial viability of free-to-air broadcasters.

• Initially positioned as an interim measure for up to five years, the CBT has persisted, creating ongoing financial strain on the sector.

• Although sometimes referred to as a spectrum tax, the CBT has no direct link to spectrum value and instead replaced the revenue-based tax it superseded.

• Free TV argues the CBT is effectively a super profits tax, yet the sector is not generating excess profits and is facing increased advertising competition from global digital platforms.

• Unlike commercial television broadcasters, digital platforms do not bear the same regulatory costs, including stringent requirements around journalistic accuracy, fairness, and advertising restrictions.

• Given that advertising is the sole revenue stream permitted for commercial broadcasters under Australian law, Free TV maintains that the CBT negatively impacts profitability and industry sustainability.

The decision to suspend the CBT provides temporary relief, but Free TV insists that a long-term solution is necessary to ensure the future viability of the sector. The association argues that free-to-air broadcasters play a crucial role in delivering trusted local content, news, and entertainment, which must be reflected in a fairer regulatory and tax framework.

“The tax materially affects the profitability of local commercial broadcasters, which is relevant to industry sustainability,” Fair added. “Now is the time for decisive action to permanently remove this unfair burden and allow Australian broadcasters to compete on a level playing field.”

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Seven is gearing up for a blockbuster 2025 AFL season, broadcasting live and free on Seven and, for the first time, streaming on 7Plus Sport. With new recruits, expert analysts, and expanded programming, the network aims to deliver comprehensive coverage for fans.

One of the biggest headlines from Seven’s AFL slate is the return of Caroline Wilson after two decades. The highly respected football journalist will be a key panelist on The Agenda Setters, a new prime-time football panel show airing Monday and Tuesday nights. Wilson will be joined by Craig Hutchison, Kane Cornes, Nick Riewoldt, Dale Thomas, and Luke Hodge, promising in-depth analysis and debate on the game’s biggest stories.

Another major addition is the return of legendary broadcaster Bruce McAvaney, who will host Sunday night coverage and marquee matches after making a brief return for the 2024 Finals Series. Meanwhile, Scott Pendlebury steps into a new out-of-play expert role on Friday Night Football, offering unique insights into the game from his experience as a 403-game player and six-time All Australian.

In a further shake-up, GWS Giants captain Toby Greene will step behind the microphone for the first time on Friday the 7th March 7, calling the Opening Round clash between Sydney Swans and Hawthorn at the MCG. The following week, Carlton captain Sam Docherty will join the broadcast for the Western Bulldogs v Collingwood matchup in Round Two.

Seven’s Thursday night coverage will also have a new face, with Rebecca Maddern taking on co-hosting duties while continuing to present 7NEWS Melbourne’s sport bulletins live from stadiums across the country. Following his retirement from AFL, Chad Wingard will join Seven as an expert commentator, and Jason Richardson will shift his focus to football, hosting Sunday Footy Feast alongside Campbell Brown and Kate McCarthy.

The broadcast team will also feature some of 7News’ top reporters, with Mitch Cleary providing breaking news updates during Thursday night match coverage, while Xander McGuire joins Friday Night Footy. Theo Doropoulos and Kate Massey will also be part of Seven’s match-day reporting team.

Returning to the commentary box are Brian Taylor, James Brayshaw, Hamish McLachlan, Alister Nicholson, and Jason Bennett, alongside expert analystsLuke Hodge, Abbey Holmes, Matthew Richardson, Erin Phillips, Jobe Watson, Dale Thomas, Joel Selwood, and Cameron Ling. They will be supported by Jude Bolton, Ryan Daniels, and Campbell Brown, rounding out what Seven is calling “football’s most star-studded lineup.”

To complement match-day coverage, Seven is also rolling out a fresh lineup of AFL programs to keep fans engaged all week. New shows include The Agenda Setters, Unfiltered, Extra Time, Sunday Footy Feast, The Wash Up, Kane’s Call, and Full Sweat – a behind-the-scenes documentary on Hawthorn Football Club. These will sit alongside long-time favourite The Front Bar, ensuring AFL content is available every day of the week across Seven and 7plus Sport.

With expanded digital rights, new shows, and big-name additions, Seven is positioning itself as the go-to destination for AFL in 2025.

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Grill’d has partnered with F1 superstar Oscar Piastri to bring fans the ultimate burger, ahead of the GP racing season.

The healthy burger brand and racing star have created a protein-packed burger with 13 essential vitamins and minerals and low in sugar, decked in his colours and topped with all of his favourite flavours.

From the 18th of February 2024, racing fans can sink their teeth into the delicious limited edition Oscar Piastri Burger with pasture-raised premium 100% Australian Wagyu beef patty on a charcoal bun with papaya sesame seeds, super-charged OP chipotle mayo, crispy bacon, aged cheddar, shredded carrot, cost lettuce and Spanish onion.

Fans can get the burger before it zooms off the menu as part of the Oscar Piastri Burger Pack which features the Burger, Famous snack chips, chipotle dip and a blood orange Remedy Sodaly.

Piastri said of the collaboration: “Both Grill’d and I were born in Melbourne and I’ve always been a long-time fan of their healthy and nutritious burgers. The burger I’ve created with the team is not only packed with protein and low sugar but it tastes great.”

“I’m massively excited to head to Albert Park in March, race in my hometown again and hopefully bring home a good result. It’s always a super special event and the support that I receive is phenomenal,” he added.

Managing director and founder Simon Crowe said: “We know that athletes love and prefer Grill’d because of our performance and nutritional benefits, but more importantly they love the taste. Grill’d has therefore genuinely connected with athletes and so we’re pleased to partner with Melbourne’s own F1 driver Oscar Piastri.”

“When an Aussie hero such as Oscar races on home soil in Melbourne, Grill’d wants to be there and support him on and off the track,” he added.

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The Matildas are set to make their debut at the SheBelieves Cup, a four-nation tournament hosted by US Soccer, featuring some of the world’s top teams. The 2025 edition, celebrating its 10th anniversary, will see Australia compete alongside reigning Olympic gold medallists USA, Japan, and Colombia, with all four teams having played at the Paris 2024 Olympics.

Under head coach Tom Sermanni, Australia will face Japan on Friday, followed by matches against USA on Monday and Colombia next Thursday. The tournament, played across three US states, promises high-intensity competition.

One player to watch is Mary Fowler, who has been in exceptional form for Manchester City in the Women’s Super League (WSL). The 22-year-old recently became the first WSL player to record two or more goal involvements in four consecutive matches, scoring three goals and providing four assists in her last four games. Fans will be eager to see if she can carry that momentum into the Matildas’ campaign.

The SheBelieves Cup will be streamed live and exclusive on Paramount+, with subscriptions starting from $6.99 per month or $61.99 annually.

When to watch

Matildas V Japan.
8.30am AEDT On Friday, 21 February

Matildas V USA.
8.30am AEDT On Monday, 24 February

 Matildas V Colombia.
11.00am AEDT On Thursday, 27 February

All matches live and exclusive To Paramount+

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The latest season of Australian Survivor: Brains V Brawn II has attracted sponsorship from a diverse range of brands all looking to engage both loyal fans and new audiences.

For the first time, furniture giant IKEA joins as an integrated brand sponsor, bringing comfort-focused rewards to the castaways in Samoa.

Meanwhile, private health insurer ahm has incorporated Australian Survivor IP into a custom animated TVC, aligning with its ‘You’re Good’ campaign.

Head of integration and partnerships, Paramount Brand Studio, Tamar Hovagimian, said these were just two of the varied brands accessing premium assets this season showing the audience power of the format.

“We cannot wait for audiences to see the brand moments for IKEA in this season of Australian Survivor: Brains V Brawn that will juxtapose the harsh conditions of camp life with the comfort of IKEA’s complete sleep range.

“The added element of an audience competition to win generous IKEA vouchers will also elevate engagement with viewers keen to get their own slice of comfort,” said Hovagimian.

Head of media for IKEA Australia, Peter Moore, said: “We’re thrilled for IKEA to be a key sponsor for this season connecting with a fiercely loyal and engaged national audience.

“We could not think of a better platform than Survivor to highlight the importance of sleep and the comforts from home we often take for granted. With nearly three in four Australians struggling to get a good night’s sleep, we have no doubt that our Survivor contestants will be feeling this firsthand.

“It has been a pleasure collaborating with the Paramount Brand Studio team to design a meaningful and impactful sponsorship to showcase IKEA, through in-program integrations, and clever use of our brand creative,” he said.

ahm head of marketing, Samantha McLeod, said: “The Australian Survivor IP was an ideal alignment for ahm to lean into and create a fun and engaging TVC that echoes this iconic format and amplifies our brand.”

Hovagimian added: “These sponsorships are a win-win elevating both our show and the brands in fresh and entertaining ways that we know will connect with audiences and deliver tangible brand outcomes.”

Expedia has also signed on as a sponsor, with additional brand partnerships set to be revealed throughout the season.

Australian Survivor: Brains V Brawn II continues tonight and Wednesday at 7.30pm on 10 and 10Play

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Married At First Sight has set a new Australian CFTA record for BVOD streaming, with seven episodes surpassing one million viewers each on 9Now – in addition to its overnight broadcast TV audience.

The show’s 12th season has reached 11 million viewers across Total TV after just 14 episodes, marking a key moment for Free-to-Air BVOD platforms. With 40% of the show’s Total TV audience now watching via 9Now, MAFS continues to drive digital viewing trends.

According to OzTAM consolidated data, MAFS has seen year-on-year growth across key demographics, with half of its episodes to date attracting over one million BVOD viewers.

The data

• Launch episode BVOD Total audience watched by 1.110 million viewers since January 27

• Episode two BVOD Total audience watched by 1.114 million viewers since January 28

• Episode three BVOD Total audience watched by 1.123 million viewers since January 29

• Episode four BVOD Total audience watched by 1.110 million viewers since January 30

• Episode six BVOD Total audience watched by 1.046 million viewers since February 3

• Episode seven BVOD Total audience watched by 1.081 million viewers since February 4

• Episode eight BVOD Total audience watched by 1.050 million viewers since February 5

Nine says it expects viewership for the show to grow further in the coming weeks as audiences continue catching up on the series.

The show remains a strong performer in the 16-39 demographic, with 60% of this audience tuning in via 9Now – a key metric for advertisers.

Across Total TV, MAFS has recorded an average audience of 2.45 million, with significant year-on-year growth:

• Broadcast TV up 15%

• BVOD up 36%

• Total TV up 23%

Hamish Turner, director of 9Now and programming has put the figures down to the show’s ability to “resonate with Australians like no other program”.

“With the series holding up a mirror to society, the story arc of MAFS provides not only the classic watercooler conversation, but is also relevant to today’s complex world of dating and relationships.

“Its success continues to drive massive engagement across all platforms, with the format seeing incredible yearly growth and engagement that is critical to maintaining audiences throughout the year,” he said.

Meanwhile, Matt James, Nine’s acting chief sales officer, said: “The critical mass engagement from Australians that Married At First Sight attracts is undeniably an indication of the power of television.

“With more than half of 9Now viewers coming from 16-39s who are deeply engaged with each episode, there is no other platform where advertisers can reach this audience at scale in a premium, brand-safe environment in such a small window of time.”

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The Australian Netflix limited series Apple Cider Vinegar, produced by See-Saw Films and Picking Scabs’, continues to expand its global reach, ranking #3 in the Top 10 English TV shows worldwide with 5.6 million views last week.

The series has also secured the #1 spot in Australia, New Zealand, Ireland, Lithuania, and Latvia.

Described as a “true-ish story based on a lie” – the series continues to generate global conversation across social media and news outlets.

The 2017 book that inspired the fictional series, The Woman Who Fooled the World by Beau Donelly and Nick Toscano, has also seen a surge in sales. Since the show’s Netflix premiere, the book has topped bestseller lists, ranking #1 in Paid Non-Fiction on Apple, #1 in Audible Audiobooks on Amazon, and #2 in Kindle True Crime.

Filmed in Melbourne, the Australian drama tells the story of a wellness empire’s meteoric rise – and the scandal that brought it crashing down.

Starring Kaitlyn Dever,  Apple Cider Vinegar is written and created by Australian Samantha Strauss, known for her work on The End, Nine Perfect Strangers, and Dance Academy.

Set at the birth of Instagram, the show follows two young women who set out to cure their life-threatening illnesses through health and wellness, influencing their global online communities along the way. All of which would be incredibly inspiring if it were all true.

Apple Cider Vinegar is the latest Australian series to feature in the Netflix Top 10, with Territory peaking at #2, Heartbreak High S2 peaking at #5, and Boy Swallows Universe peaking at #3 on the global Top 10 English TV list.

Other Australian productions recently featured in the Top 10 include hits Surviving Summer Seasons 1 & 2, Love is in the Air, Fisk, Run Rabbit Run, Wellmania, True Spirit, and The Stranger.

Pictured: Kaitlyn Dever

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