Monday October 20, 2025

Robert Irwin profile
Robert Irwin is Australia's No 1 'Top Talent,' but does that make him good talent for marketers?

By Dan Barrett

The Aus Talent Index highlights celebrities with broad appeal, separating popularity from polarisation.

Topping the list for the 2025 Australian Talent Index’s Top Talent Report is Robert Irwin. It is the second year in a row that host of Network 10’s I’m A Celebrity Get Me Out of Here! has topped the annual list, compiled by research firm Talent Corp.

“It always throws up interesting and somewhat unexpected talent. Last year, Robert Irwin was a surprise for me,” revealed Talent Corp Managing Director Mark Noakes in a conversation with Mediaweek. “We’ve created this index to measure both positive and negative sentiment. That’s clearly indicates that he doesn’t have a lot of negative sentiment. Rebecca Gibney coming up this year, that was interesting for me in an unexpected in a way. This is real consumer research.”

The goal of the Top Talent Report is to give marketers, media buyers, and brands a more nuanced tool for choosing talent that enhances campaigns without alienating audiences. The survey ranks media personalities using a scale from -100 to +100, factoring in both positive and negative consumer sentiment.

What is interesting about the report is that it highlights the gulf between the popularity of talent and the ratings their programs often generate. For example, registering high on the Top 20 are figures such as Amanda Keller and Glenn Robbins who score highly due to consistent likability, even if their current media programs aren’t topping ratings charts. The index also saw the aforementioned Rebecca Gibney and Shelley Craft receive strong sentiment scores, reflecting their enduring public goodwill.

Interestingly, while Shelley Craft made it into the Top 20, her The Block co-host Scott Cam didn’t.

“Scott Cam is surveyed, but in terms of the index, Shelley is rated higher than Scott,” Noakes said, but the index’s scale registering negative sentiment suggests that “Scott must have a bigger group that are not really big fans.”

Second on the list was Andy Lee, who has, for the first time, ranked ahead of long-time comedy partner, Hamish Blake.

 

The results serve as a reminder that a celebrity’s popularity doesn’t always translate to broad appeal. The index aims to guide brands in avoiding reputational risk by helping them avoid talent with high awareness but polarising sentiment.

While the current report focuses on broadcast media figures, future versions will expand to include influencers, sportspeople, and actors. Custom segmentation is also available by age, location, and psychographics, allowing brands to target specific demographics or sentiment drivers such as credibility, relatability, and entertainment value.

The survey extends beyond just the Top 20, also measures qualities in talent like trust, controversy, and likability, while also breaking talent up into categories based on their genres. For example, you can see the popularity of celebrity chefs and food critics.

It isn’t just whether a celebrity is likeable or not that is being recorded, but also the awareness of talent. An interesting category to look at is Breakfast hosts, if only for Australia’s most polarising figure Kyle Sandilands. Today host Karl Stefanovic slightly beats him out in terms of awareness – the national profile of his show likely aids with that. Sandilands is right behind Stefanovic in awareness, but is considerably lower in terms of trust. Co-host Jackie O is right behind Sandilands in terms of awareness, but has a level of trust that is significantly higher and comparable to her own awareness.

The Breakfast analysis is also a good example to talk about where the value of a report like this comes into play for those looking for their next spokesperson.

“The listeners of Kyle Sandilands love Kyle Sandilands,” Noakes said. “But there’s a big cohort outside of those listeners that hate him. Our index takes in that negative sentiment and combines it with the positive sentiment to get the ranking. And if you’re a marketer and you don’t want to disenfranchise a certain cohort, then that’s the Talent Index comes into play. Just a likability or a rating is not really a great measurement for a celebrity if you don’t want to disenfranchise a brand, a cohort, a demographic.”

While the current report focuses on broadcast media figures, future versions will expand to include influencers, sportspeople, and actors. Custom segmentation is also to those who pay to access the full report. This breaks down results into age, location, and psychographics, allowing brands to target specific demographics or sentiment drivers such as credibility, relatability, and entertainment value.

Currently the report only considers broadcast media talent, even with the rise of prominent influencers in the social space. The reason they are not captured in the current version of the report is due to resources and logistics.

“We started including some influencers,” Noakes revealed. “We did actors as well. And we got to a point where we realised we’re trying to do too much at once. The survey group is just too big. We intend to do a broadcast version, an influencer version, and a theatrical, you know, actor version.”

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QMS NZ completes successful Auckland street furniture handover

By Frances Sheen.

The handover follows an extensive transition process and gives QMS exclusive, long-term rights to nearly 2,000 advertising panels.

QMS NZ has formally taken control of Auckland Transport’s street furniture advertising network, marking a defining moment for the company and New Zealand’s broader out-of-home (OOH) sector.

oOh!media previously the OOH NZ contract, which expired on 30 September, and told its shareholders it was ‘disappointed’ after losing the contract.

The handover follows an extensive transition process and gives QMS exclusive, long-term rights to nearly 2,000 advertising panels across Auckland.

These assets will be integrated into the company’s existing national portfolio of transit, transport hub, and large-format billboard inventory, both static and digital, creating a unified, data-driven OOH platform across the country.

With the completion of the transition, QMS now operates the largest OOH network in New Zealand, strengthening its footprint in the country’s most commercially significant market.

QMS NZ Director Adam Trevena described the milestone as a launchpad for innovation, saying, “We are thrilled to be officially live with the Auckland Transport street furniture network.

“The transition process has been exceptionally smooth, and I would like to thank all the teams involved for their outstanding work in ensuring a successful transition. This moment is not just about taking over assets; it’s the beginning a new era of innovation, growth and public utility for OOH in Auckland.”

The contract with Auckland Transport, one of the country’s most high-profile OOH concessions, also underscores how local government and private media operators are collaborating to deliver both public amenity and commercial outcomes.

Auckland Transport’s Head of Out of Home Media and Partnerships, Simon Soulsby, said the partnership would create new opportunities for advertisers while delivering a financial return for the city.“This is an exciting milestone for our new out of home media partnership with QMS as the team begins managing our street furniture advertising network, after a smooth transition from our previous operator.”

Tim Murphy

Tim Murphy

QMS Chief Sales Officer Tim Murphy described the new concession as a a new way in how out-of-home media is traded. “The Auckland Transport street furniture concession is a true game-changer that re-shapes the way OOH will be planned and bought in New Zealand.

“Our clients can now look forward to new and innovative campaign solutions, that are easy to plan and buy across New Zealand’s #1 OOH network.”

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What advertisers can learn from the beauty brand that ditched perfection for purpose

By Natasha Lee.

Skincare founder Davey Rooney’s Boring Without You flipped beauty marketing on its head with a mental health-led campaign.

In her seminal work The Beauty Myth, Naomi Wolf argued that the beauty industry creates unrealistic standards to control women, undermining their self-worth and distracting them from real issues like workplace equality and reproductive rights.

Imagine then, deciding to subvert that very industry, all while still working within it.

It sounds like an almost impossible task. And yet, skincare founder and educator Davey Rooney of Boring Without You has managed to do just that.

The brand was born out of what Rooney describes as one of the most difficult periods of his life: “I would have panic attacks on the tram on my way to work,” he told Mediaweek. “I was thrown into the most anxious, depressive state I’ve ever been in.”

That experience shaped both his outlook and his business. “It’s only in hindsight that I can see how my skin really took the brunt of that, dryness, dehydration, sensitivity to products that used to be totally fine,” he said.

“From day one, donating to mental health charities has been a massive foundation for the brand, because your skin and your mind are deeply connected.”

Skincare founder and educator Davey Rooney of Boring Without You.

Skincare founder and educator Davey Rooney of Boring Without You.

A skincare brand built on empathy

Rooney’s brand was created around one central belief, that skincare isn’t just about what you put on your face. “It’s about caring for your skin,” he said. “And how you do that is different for everyone.”

He’s quick to point out the science too. “Stress, anxiety, and lack of sleep all impact your skin. There’s so much evidence to support that,” he said. “I used to think it was the other way around, that your skin impacts your mental health. But actually, your mental health impacts your skin. It’s a cycle; everything is interconnected. How you feel changes how you look.”

That philosophy, gentle and grounded, has become the brand’s differentiator in an industry that often prizes perfection over presence.

A recent study by the University of Manchester looking at the evolution of the beauty industry found that what many of us think of as “personal choice”, things like skincare, makeup, and even hair removal, actually has deep corporate roots.

It traced how brands, from Gillette convincing women in the early 1900s that body hair was “unfeminine,” to post-war cosmetics giants marketing beauty products as “everyday essentials,” helped create today’s idea of what looking after yourself should mean.

The research argued that these weren’t just clever ads – they built an entire culture that ties femininity to maintenance and confidence to consumption.

Flipping the script on beauty marketing

This year, Boring Without You launched its first full-scale brand campaign for World Mental Health Day (10 October), titled “We Don’t Make Beauty. You Do.” The campaign sought to challenge traditional notions of beauty marketing and to bring awareness to how mental health affects physical wellbeing.

Rather than selling a product, the campaign sold perspective. In Bondi, a digital billboard invited people to “stand here.” When they did, the screen switched to a live feed of their face with the message: “Beauty is staring you in the face.” For each person who participated, $10 was donated to mental health charities.

Meanwhile, influencers were sent empty PR boxes, a move that caught many off guard. Inside was a mirror engraved with the phrase “We don’t make beauty. You do.”

Rooney said the decision to send an empty mailer was deliberate. “Most brands would send product, but we wanted to say something different,” he explained. “When people opened the box, they saw a mirror and the message about stress, anxiety, and negative self-talk. It reminded them that they are the secret ingredient, because how you feel impacts how you look.”

The results were striking. “Creators with thousands, even millions of followers, were crying on camera, saying it was the most thoughtful PR box they’d ever received,” Rooney said. “I think it’s because people felt seen when they opened it. They felt understood.”

From brainstorm to billboard in three weeks

Remarkably, the entire campaign was conceived and executed in just three weeks. “We led this internally with a team of three,” Rooney said. “We came up with the idea, built the activation, and executed it all in-house.”

They partnered with Sunday Agency to help with PR and creative direction. “They helped refine the angle and make sure the campaign got the amplification it deserved,” Rooney said. “I’m really proud of what we’ve achieved”

A changing industry

The campaign lands at a time when the global beauty industry is booming, but its consumers are changing. According to Attest, the sector was worth AU $992 billion in 2024, and it’s expected to grow by 3.33% annually through to 2028.

But glossy perfection isn’t selling like it used to. Taboola’s research shows 85% of Gen Z value authenticity when choosing a brand, and 71% have made a beauty purchase because of TikTok, a platform known for raw, unfiltered storytelling.

Rooney sees this shift as an opportunity. “If you only talk about product, it’ll only take you so far,” he said. “You have to connect with people. You have to stand for something. You have to make them feel something.”

He added that investing in brand, not just marketing, is what helps companies stand out. “We want to invest more in brand,” he said. “That’s how companies will differentiate themselves in such a saturated market.”

Turning values into action

For Rooney, though, it’s not enough to talk about mental health, it has to translate into action. “People want to buy from brands that share their values,” he said. “But it can’t just be talk; it has to be action.”

To that end, Boring Without You has so far donated $50,000 to four Australian mental health charities. “It’s not just about saying the right things,” Rooney said. “It’s about making a real difference.”

Redefining beauty through meaning

Rooney’s philosophy has resonated with customers, too. At the Bondi activation, he was approached by people who thanked him for what the brand stands for. “They said, ‘Keep doing what you’re doing,’” he recalled. “Hearing that really reinforces it.”

Seeing those reactions in person has strengthened his resolve. “It solidifies you as a real brand, not just something that exists online,” he said. “That kind of positive reinforcement from the public is so powerful.”

In a $600 billion industry built on airbrushes and aspiration, Boring Without You is selling something much rarer, perspective, empathy, and a reminder that how you feel matters just as much as how you look.

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

SuperCoach SXSW panel
SXSW Sydney: Male bonding fuels the traffic highs of SuperCoach

By Dan Barrett.

With over two million passionate fantasy sports fans playing in Australia, SuperCoach is having an impact on the mental health of its players – in a good way.

There has been a lot of research into the male loneliness epidemic that has been identified in recent years. Recent research from Mentoring Men, a service that connects men with trained mentors, identified that more than half (53 per cent) of men aged 35-50 in NSW, Victoria, and the ACT meet the criteria for loneliness. A further 47 per cent of men reported feeling that a lack companionship some of the time.

Fantasy sports isn’t the complete answer, but for a lot of men each week, it is providing a sense of mateship and connection that is surely helping a lot of guys out there.

SuperCoach NRL Editor Tom Sangster appeared at a SXSW panel on Friday, alongside News Corp Australia’s Head of Fantasy Sports Paul Zines and News Corp Australia’s Head of Fantasy Content Nathaniel Bane.

Sangster told the crowd that fantasy sports through the News Corp Australia platform SuperCoach has kept his high school friends together: “We get to see each other probably three times a year, and they’re all related to SuperCoach. We’ve got our AGM, which is just an excuse to get away from the kids. And Season 3, we’ve got the draft night.

“We used to see each other every day at school, but now we see each other three times a year and it’s all to do with SuperCoach.”

The sense of mateship was echoed by Zines: “It’s literally about the sense of connection. And 10 years later, these are some of my best friends for life. You know, weddings, best men.”

SuperCoach and fantasy sports goes beyond just bringing mates together. This is a $45 billion industry globally. In Australia, SuperCoach has reported seeing a doubling of fantasy players since 2021. Bane reports that there are over 2 million Australians who play, spending an average of 62 minutes every single week managing their teams.

Thanks in no small part to the social element intwined in the platform, SuperCoach has started to have an impact on the athletes and the games itself.

During the panel they discussed Storm player Ryan Papenhuyzen. He had an injury, with the club keen to keep it quiet. But knowing that there is a large, rabid fanbase of SuperCoach players out there wanting the inside word on what would impact their lineups for the week ahead, he took to his podcast and talked about his injury.

As Sangster said on the panel, for a player earning 900k a year in salary, they are eager to stoke their outside business interests where they can double their income. High traffic spikes on a podcast episode help them get there.

There is also a growing audience for women engaging in fantasy sports too.

In a conversation with Mediaweek after the panel, Bane talked about the rise of women playing and how they are working to grow that audience. He predicts that, currently, around 10 per cent of the SuperCoach audience is female. And most of those female players are playing in fantasy teams alongside men.

“We would definitely love it to be a lot more. In terms of what’s going to drive them to want to play more, we’re still trying different formats to try and get them to come and play the games. We don’t necessarily believe just adding women’s sports is going to drive women’s audience. One of the guys in our league, his wife plays in our league as well. She’s won two years in a row,” he said.

SuperCoach is also having an impact on sports journalism. A lot of sports journos play themselves, but many will look to SuperCoach fandom to keep a competitive edge themselves. It is also having an impact on content published, where a minor story may have huge ramifications for the SuperCoach audience.

“Our journos know that even if it’s just a minor player, it could be really big. They can look up who’s popular in SuperCoach and know that if they do a story on someone, it could be the most random person that no one even knows. He could be a really popular SuperCoach player. A general NRL fan wouldn’t read it. But they know that if they’re popular in SuperCoach, it’ll go off,” Sangster told Mediaweek.

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Stephen Peacocke admits nerves ahead of Home and Away return

By Natasha Lee.

The actor opens up about returning to Home and Away, admitting to nerves and self-doubt as he reprises his beloved role as Brax.

For the first time in its 38-year run, Home and Away has headed to Western Australia, kicking off filming on a special storyline that reunites two of the show’s most beloved characters – Brax and Ricky.

The episodes, produced in partnership with Tourism Western Australia, will showcase some of the state’s most striking landscapes, from Perth to the Coral Coast and the red dirt of the outback.

It’s a strategic creative move that doubles as a showcase of WA’s natural beauty, while reigniting nostalgia for long-time fans.

The return of Brax and Ricky

Fans were delighted back in August when it was revealed Stephen Peacocke and Bonnie Sveen would reprise their roles as Darryl ‘Brax’ Braxton and Erica ‘Ricky’ Sharpe – one of the show’s most popular on-screen couples.

Speaking with Mediaweek, Peacocke admitted to feeling a few nerves about stepping back into such an iconic role. “I’m a bit nervous,” he said. “I get nervous all the time. There’s never a day I come home and think, I’ve nailed that.”

Brax and Ricky were last seen driving out of Summer Bay in 2016. Now, a decade later, the new episodes promise to finally answer the question that’s lingered ever since: where did life take the pair?

Reflecting on the timing of his return, Peacocke added, “I didn’t even realise it had been 10 years, but as a kind of marker since leaving the show, it felt like the right time. It was a pretty popular storyline and a popular character that I played, so they thought it’d be great to catch up with him – to see where he’s at now that there’s a bit of water under the bridge.”

Peacocke added that the entire event felt like a homecoming of sorts. “I love playing that character so much, and I love the crew and the people I was working with,” he said.

Despite a decade of experience across film and television, he admitted he still feels a healthy dose of self-doubt on set. “I look at younger actors and really admire how confident they seem, because most of the time we’ll finish a take and the director will say it’s fine, and I’ll still be asking, ‘Are you sure that worked?’” he laughed.

Still, he’s determined to give fans the reunion they’ve been waiting for. “There’s an audience that really wants to see this, and I just want to make it as good as it can be, and I’m sure it will be.”

While storyline details remain tightly under wraps, the production marks a milestone for Seven, with Home and Away filming in Western Australia for the first time.

The partnership with Tourism Western Australia positions the long-running drama as both a cultural export and a visual ambassador for the state.

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‘Thrilled’: Yonder Creative’s Julie Faktor on winning gold at the Australian Good Design Awards

By Natasha Lee.

The awards celebrate work that proves creativity can be a catalyst for meaningful social change.

The 2025 Australian Good Design Awards have wrapped for another year, celebrating work that proves creativity can be a catalyst for meaningful social change.

Yonder Creative took home Good Design Award Gold for Connections – ReachOut Parents, a campaign that helps parents recognise when their teenagers might need mental health support, a crucial early step in improving outcomes for young people.

Yonder Creative’s Executive Creative Director, Julie Faktor, told Mediaweek the win felt especially significant given the campaign’s purpose and scope. “We’re really thrilled because the awards cover such a broad range of different aspects of design, not just graphic design. It was really wonderful to be part of that group of designers,” she said.

Reflecting on the campaign itself, Faktor added, “I’d say we’re particularly proud of this campaign, working with ReachOut for youth mental health. It’s a very important issue for not only us, but for everyone.”

The Awards also recognised campaigns tackling gender equality and Indigenous storytelling, underscoring how thoughtful design and creative storytelling can shift attitudes and drive impact far beyond the screen.

Connections - ReachOut Parents

Connections – ReachOut Parents

Other winners

Among the Good Design Award winners was This is Manly, co-designed by ThirdStory and Anthologie. The campaign takes a bold, youth-led approach to challenging gender stereotypes, amplifying positive male role models, and redefining what it means to be “manly” through social storytelling and vibrant public messaging.

This is Manly

Also recognised was Yarn It Out by Headjam, a suicide prevention campaign that places Indigenous voices at its core. Developed with rappers Kobie Dee and Barkaa, the initiative delivers a powerful peer-to-peer message across social, TV, and outdoor media, encouraging open conversations about mental health.

Yarn It Out

Yarn It Out

Rounding out the winners was The Support Project for Avivo, created by Block Branding alongside Mark Braddock, Artcom Fabricators, Alucinor Productions, and Sandbox Productions. The campaign uses striking silhouettes and short films to highlight stories of care, reframing advertising as advocacy and sparking empathy through thoughtful storytelling.

The Support Project – Avivo

The Support Project – Avivo

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Generosity is the new growth strategy: How brands can build faith and loyalty

By Frances Sheen.

At SXSW Sydney, The Growth Distillery’s Jessica Folkard, explored how generosity is now one of the most powerful strategies for business and longevity.

At a time when Australians have lost faith in many institutions, from politics to big business, marketers are rethinking what customer loyalty really means, and how it can be achieved.

At South by Southwest Sydney, Jessica Folkard, Senior Manager, Audience Intelligence at The Growth Distillery, shared fresh insight into how brands can build genuine customer loyalty in her session, The Formula for Faith: Why Giving Is Good For You.

“We’re living in a crisis of grievance,” Folkard said. “Two-thirds of Australians feel let down by institutions because they believe those institutions are self-serving.”

Drawing on a report built from a range of studies and sources, Folkard noted that seven in ten Australians now trust institutions less than they did a decade ago, a decline that extends well beyond politics and into everyday life.

Her opening question to the audience, “Have you ever unfollowed a celebrity you still liked because they said something that didn’t feel right?”, instantly set the tone for a discussion on the fragility of modern trust.

“This is a human problem,” said Folkard. “It affects every relationship, between leaders and employees, brands and audiences, creators and followers.”

One tweet, one statement, one perceived mis-step can trigger mass unfollows or backlash.

Jessica Folkard

Folkard argued that brands now live in that same economy of trust. “We don’t just unfollow celebrities anymore,” she said. “We unfollow brands, ideas, and even institutions that no longer feel aligned with who we are.”

A recent study from UTS said 96 per cent of Australians think that brands should be doing some form of good in the world, but this has to be authentic and not traditional corporate responsibility or cupcakes for staff on International Women’s Day.

“It’s faith,” she said. “Faith is a person’s unwavering belief that another person, another brand, or another organisation, will act with their best interest at heart and basically they will act with integrity.”

Folkard gave the great example of how faith can affect the way we shop at supermarkets for groceries. Even though cost should be a priority at the moment, as food is expensive, our faith in the supermarket does come into play.

“We’ve studied this quite extensively,” she said. “Loyalty is something that’s not strong in this sector. Three in five Australians are willing to change their main supermarket if it doesn’t do a good job at meeting personal values.”

This presents a huge opportunity for the supermarket industry, because, as studies have found, we are more likely to forgive a brand if we feel loyal to it.“The power that faith generates when you give with generosity is huge,” she said.

The four pathways of generosity

Folkard then introduced a model designed to help brands navigate this. To build loyalty and faith, brands must be seen to be generous.

This is not just in their pricing or what they offer, but how they interact with their customers, staff and the wider community. She gave four examples of the four pathways to being generous, and revealed how these brands have got it right.

Path One

Giving knowledge: Empowering people through insight and education.
Example: Duolingo the language learning app gives language lessons freely, so you can learn before you’re asked to pay. This builds loyalty to the brand as you learn with them, making them the number one learning app in the world.

Path two

Giving access: Creating opportunities people couldn’t otherwise reach.
Example: AC/DC’s fairly priced farewell tour kept tickets accessible for fans while similar acts charged double or triple the price. The band gain the benefit of being seen as loyal to their fans.

Path three

Giving resources: Building purpose into profit.
Example: Who Gives a Crap, the toilet paper company, doesn’t just donate profits to developing nations to build toilets, the whole company is built around giving. “Donating isn’t something they do once they make their profit, they earn their profit through the fact they give,” said Folkard.

Path four

Giving time: Being physically and emotionally present in communities.
Example: Bunnings’ weekend sausage sizzles are a case study in how corporate presence can become social glue as groups and charities line up to raise money through serving the community and selling a sausage in a roll at their local Bunnings. “Bunnings is consistently voted
the number one most trusted brand in Australia,” said Folkard. “So this is obviously working for them.”

Brand Finance - YouGov

When generosity backfires…

It’s important to note that not every act of “giving” is seen as generous. Folkard warned that brands can lose credibility fast when their actions, or even their associations, contradict their values.

Goop, the wellness brand fronted by Gwyneth Paltrow, was cited as an example of giving knowledge but trust is lost when it isn’t grounded in evidence.

Paltrow built the Goop empire as a gateway to health advice and products, but much of its content has been criticised by medical experts for promoting unverified or pseudoscientific claims. “When what you give is questionable, you don’t build trust, you erode it,” Folkard said. “It’s a reminder that generosity without credibility can backfire.”

Woolworths was used to illustrate what happens when access, one of the four pathways of generosity, is given or taken away without alignment to brand purpose.

Its recent decision to remove Australia Day merchandise from shelves was positioned as an act of social sensitivity by the brand, but Folkard noted it sparked backlash from customers who felt excluded rather than included.

“The supermarket did not field the right to be the authority on that issue,” said Folkard. “And people were outraged. Their brand is built off an ethos of freshness, convenience and value, not social commentary.”

woolworths

The discussion around Katy Perry revealed how misalignment can show up in culture as well as commerce.

Her global empowerment anthem Woman’s World lost impact when fans discovered it was produced by Dr Luke, a man accused of sexual assault. “It’s not enough to say the right thing,” Folkard said. “Who you work with, where you spend, and what you endorse all tell the real story.”

Finally, she outlined the case of Kyte Baby, a “for parents, by parents” brand for young children that refused a staff member’s request to work remotely while her newborn child was in intensive care.

The story went viral, with customers accusing the company of hypocrisy. “They’d built their entire identity around empathy for parents,” Folkard said. “But when tested, that empathy wasn’t shown and the betrayal felt personal.”

These examples, she said, share a common thread: misalignment between intent and action.

“Generosity isn’t performative,” Folkard concluded. “It’s not a campaign. It’s what you do when no one’s watching. Credibility can’t be claimed, it must be earned,” she said. “And once it’s lost, it’s incredibly hard to rebuild.”

After her SXSW session, Mediaweek sat down with Folkard to expand on her session and ask how likely it is for brand’s to turn the tide of public opinion in an age of social media.

“Some people will always forgive, convenience wins them back,” she said. “But for others, once the trust is broken, it’s gone until the brand makes real amends. You can’t PR your way out of that.”

Even amid cost-of-living pressures, she said values still matter.

“Price is the number-one driver when we choose some brands, but it’s not the only one. People still want to feel good about what they buy.”

She also noted how quickly competitors can seize opportunity when others fail. When Kyte Baby were being vilified for refusing a team member time out of the office with her baby, similar brands jumped in with empathy and won customers in the process. 

Her final advice for marketers confronting backlash was clear, “Apologise quickly, apologise sincerely, and make it right, directly and tangibly. That action will speak louder than any campaign line.”

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

TV Guide: How to watch The Golden Bachelor and meet the cast

By Frances Sheen

Australia’s dating show landscape takes a turn as Channel 9 introduces Bear in The Golden Bachelor Australia.

Australia will welcome the international smash-hit show, The Golden Bachelor as the reality dating show arrives on our TV screens.

On Monday, 20 October 2025, on Channel 9 and 9Now at 7.30pm, Australia’s will meet “Bear”, a long-time Sydneysider and father of three.

After his wife Audrey died in 2011, Bear threw himself into raising his sons near the ocean in Sydney’s Northern Beaches, but now he says he’s ready for a new chapter and wants to find love.

Barry ‘Bear’ Myrden

In a similar format to The Bachelor and The Bachelorette, Bear will choose from 20 single women, vying to be chosen by the 61-year-old.

Hosted by Samantha Armytage, the show is tipped to be as full of drama as its counterpart, The Bachelor as Bear tries to find a new love.

Bear’s real name is Barry Myrden and he’s a Canadian infrastructure engineer for the Woolworths Group.

“It’s quite surreal getting to be Australia’s first Golden Bachelor,” said Bear. “It’s an incredible privilege that twenty remarkable women are willing to come on this journey with me, for all of us to have the courage to open our hearts and take the chance to fall in love again. I couldn’t be more grateful or excited to see where this trailblazing experience takes us.”

Armytage agreed the show brings a fresh twist to the The Bachelor format. “I can’t wait to introduce Bear to Australia,” she said. “We’ve found a one-in-a-million Golden Bachelor, full of integrity and compassion. He’s incredibly kind and, I might add, very handsome! I know you’re all going to want to join him on his journey to fall in love again.”

Meet the women of The Golden Bachelor

From doctors and teachers to business owners and creative professionals, their ages range from the early 50s to 66.

Angela, 52, Psychotherapist, VIC

Bianca, 51, Radio Presenter, QLD

Catherine, 56, Interior Designer, NSW

Elizete, 54, Property Manager, NSW

Gera, 52, Real Estate Business Owner, WA

Hamidah, 60, Disability Support Worker, NSW

Jan, 66, Age Transformation Coach, NSW

Jane, 60, Interior Designer, NSW

Janette, 61, Pilates Studio Owner, VIC

Katrina, 55, NICU Nurse, QLD

Kim, 60, Doctor, QLD

Laura, 64, Primary School Teacher, QLD and mum of Abbie Chatfield

Lauren, 60, Dressage Team Manager, QLD

Linda, 61, Stylist, QLD

Nicolette, 55, Singer, NSW

Pip, 60, Hoist Operator, VIC

Shamse, 60, Interior Designer, VIC

Shana, 60, Retired (Education Sales Executive), NSW

Sunny, 58, CEO, NSW

Terri, 61, Property Investor, VIC

For Channel 9, The Golden Bachelor Australia represents a strategic shift in the dating format space moving from The Bachelor, which is no longer in production in Australia, to storytelling with a mature group of women.

Produced by Warner Bros. International Television Production for the Nine Network, the series will maintain the familiar Bachelor structure, dates, roses, and eliminations.

It’s positioned as appointment viewing across both linear broadcast and 9Now, with Nine expecting strong cross-platform engagement.

How to watch The Golden Bachelor

The season premieres Monday, 20 October, 7.30pm, on on Channel 9 and 9Now.

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

Luke Bradnam on Nine News
4BC names replacement for Peter Fegan

By Natasha Lee.

The changes mark the latest move in what continues to be a competitive and fast-evolving Brisbane radio market.

Nine News weekend weatherman Luke Bradnam, who will temporarily step into the 4BC Breakfast chair from Monday, after 4BC confirmed that Peter Fegan has finished up as host of 4BC Breakfast.

The announcement follows the release of the latest radio ratings, which showed 4BC Breakfast dipping to a 3.6% share, down from 4.1%. The station’s overall share rose slightly to 5.3% (up from 4.8%), while cumulative audience fell to 118,000 (-16,000).

Speaking with 4BC Afternoons host Sofie Formica, Bradnam said he was excited to reconnect with Brisbane listeners.

“I will be springing out of bed at 3:30 on Monday morning for a couple of weeks, but I’m looking forward to that,” he said. “I’ve enjoyed my previous guest-hosting gigs on 4BC.”

Peter Fegan

Brisbane remains one of the country’s most competitive radio markets, with established FM players and national talk formats all vying for attention.

In a note to staff seen by Mediaweek, 4BC Content Manager Siobhain McDonnell thanked Fegan for his dedication to the station and his contribution to bringing Brisbane’s stories, and sport, to life.

“I thank Peter for his dedication to the station, his show and for bringing a cracking NRL season to life on air with his passion and enthusiasm for his beloved Broncos,” the email read.

The changes mark the latest move in what continues to be a competitive and fast-evolving Brisbane radio market.

“Brisbane continues to be a tough radio market, and I am committed and determined to deliver programs that resonate with the Brisbane community and continue to grow our loyal 4BC audience,” McDonnell added.

New breakfast show to be announced soon

While 4BC hasn’t yet revealed who will permanently take over the breakfast slot, the network confirmed that “familiar voices and friends of 4BC” will fill the program from 5.30am to 9am for the remainder of the year.

The station says the upcoming announcement will reflect its ongoing commitment to local storytelling and audience engagement.

“A new Breakfast program will be announced in due course,” the statement said. “In the interim, familiar voices and friends of 4BC will continue to keep our Brisbane audience entertained and informed every morning.”

Bill McDonald promotional photo

Bill McDonald

Fegan’s departure comes just weeks after 4BC Mornings announcer Bill McDonald has announced he was leaving the station.

In the most recent radio survey, the Mornings slot saw a lift from a 4.3 share in Survey 4 to a 5.5 share in Survey 5. A lift, but still behind its only other news talk rival ABC Brisbane with a 6.7 share (also up from the previous survey, then recording a 5.3 share).

This is reflective of the stations market position and Mediaweek notes that McDonald’s audience was higher than 4BC’s 4.8 average share.

Nine has informed Mediaweek that the Mornings seat will be filled until the end of the year by Jason Matthews, a producer who has been working at 4BC since October 2024.

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

SXSW Sydney crowns 2025 Screen Festival winners

By Natasha Lee

This year’s awards featured entries that pushed boundaries with bold, genre-bending storytelling.

The 2025 SXSW Sydney Screen Festival has wrapped with horror-comedy The Weed Eaters taking out the coveted award for Best Feature Film, cementing the event’s reputation as a launchpad for genre-bending storytelling.

Directed by Callum Devlin and produced by Causeway Films (Talk to Me, The Babadook), the New Zealand film blends dark humour with slow-burn horror.

Starring Alice May Connolly (The Power of the Dog) and featuring cameos from Paul Kean of The Bats, and comedian David Correos, it follows a group of friends whose idyllic New Year’s getaway in rural Canterbury spirals into chaos after a batch of cursed weed unleashes nightmarish consequences.

The Weed Eaters

The Weed Eaters

Found footage and cult favourites

The Audience Award went to Australian writer-director Jorrden Daley for Welcome Back To My Channel, a grisly found-footage horror that leans into influencer culture with unnerving realism.

The film follows Suki, an online content creator, whose trip home to Australia turns into a violent descent into terror… and cannibalism.

The locally produced Best Episodic winner, Lake Boga, created by Ben Bryan and Nick Capper, brings a distinctly Australian edge to the revenge-thriller genre.

The series follows Nathan, an ex-military assassin on a mission to dismantle the state’s meth trade, who becomes entangled with a small-town pub owner running her own operation.

Lake Boga

Lake Boga

Short form, music, and new wave highlights

Australian filmmaker Julian Tynan took home Best Short Film for Siblings, a darkly absurd comedy about two siblings competing in a series of bizarre games for a ride home, only to find something sinister beneath the surface.

The Best Music Video award went to Party Dozen’s Coup de Gronk, directed by Ollie Jones, while Lucinda De Palma’s Rejoice earned Best New Wave for its punchy depiction of youthful rebellion and restless energy.

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

Media

Nine scrambles after HR leak

The Australian’s Steve Jackson reports the network’s HR team is in hot water after accidentally emailing confidential misconduct files to random staff across the network.

The leaked documents reportedly contained explosive allegations involving several high-profile on-air personalities.

Media clients blindsided as ANZ axes data start-up

ANZ’s new CEO, Nuno Matos, has shut down data tech venture DataCo, leaving major clients like SBS, Southern Cross Media and Nine scrambling.

The decision, according to The Australian Financial Review’s Sam Buckingham-Jones and Angira Bharadwaj, part of a broader cost-cutting push that includes thousands of job cuts and an $800 million share buyback cancellation, came just weeks after DataCo signed new deals.

Business

Paramount Skydance to cut thousands of jobs after merger

Variety’s Todd Spangler writes the company will slash around 2,000 jobs in the US next week as new CEO David Ellison moves to trim costs following the $8 billion merger.

Additional layoffs are expected to follow across the globe.

Locally, Network 10 is owned by Paramount. Mediaweek has reached out for comment.

Radio

Macquarie University cuts funding to 2SER radio

Macquarie University will end its funding for community station 2SER, citing a shift in strategic and financial priorities.

Radio Info writes the university, which co-owns the station with UTS, said it has given 15 months’ notice to help plan the transition.

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