The Indie-Pendence Day conference saw some of Australia’s top media executives discussing the key media consumption trends shaping 2025. With shifts in audience behaviour, the decline of traditional search and social referrals, and the growing role of AI, industry leaders shared insights into what the future holds.

A tale of two extremes: Hard news vs. escapism

Nine CEO Matt Stanton highlighted the growing polarisation in audience content consumption. On one hand, there is an increasing appetite for long-form journalism, driven by geopolitical tensions and the global news cycle.

“People are engaging more with investigative content,” Stanton observed. “There’s a deeper interest in news, especially around politics and international events.”

Conversely, escapism is on the rise, with reality TV continuing to dominate. Married at First Sight  is a prime example, drawing massive audiences who crave entertainment and relief from the heaviness of current events.

“MAFS is a juggernaut,” Stanton said. “It’s dominating engagement metrics, reinforcing that people want both information and distraction.”

The decline of search and social referrals

News Corp’s Michael Miller pointed out a significant challenge facing publishers: the decline in search and social referrals.

“This isn’t just about media companies, this is affecting all businesses,” Miller said. “Meta, Alphabet, Amazon, and Apple are creating ‘walled gardens’ that are harder to break into.”

He warned that we may be heading toward a “Search Zero” future, where traditional pathways for content discovery are increasingly closed off. For indie agencies, this means investing in direct audience engagement and first-party data strategies.

The AI factor: Efficiency vs. authenticity

AI is becoming more embedded in media businesses, but leaders say it’s still not the game-changer for efficiency, at least not yet. Stanton noted that while AI is helping with content syndication across platforms, strategic implementation is still in progress.

Mamamia’s Harvey shared how AI is driving efficiencies in Australia’s largest independent women’s media group. “We’ve built our own AI model, ‘May,’ which assists with research, fact-checking, and podcast prep. It’s saving our team hours each week,” she said. However, she cautioned that AI has limitations. “It’s useful, but we still need human oversight to ensure accuracy and authenticity.”

The power of local media

ARN’s Davis emphasised that local media remains a crucial part of the industry. He shared a story of how a local radio station quickly mobilised community support for a struggling family in Ballarat.

“This is something global platforms can’t do,” Davis said. “Local media has an immediacy and emotional connection that algorithms can’t replicate.”

In 2025, the media game will be all about keeping up with shifting audience habits, navigating platform restrictions, and finding the sweet spot between AI-powered efficiency and human creativity.

As Miller summarised, “The best marketers and agencies are the ones building long-term campaigns, not just chasing short-term hits. Understanding audience behaviour in this new era is going to be crucial.”

With audiences seeking both deep engagement and light entertainment, the challenge for media companies and advertisers will be to strike the right balance in their content and marketing plans.

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Southern Cross Austereo (SCA) CEO John Kelly has informed staff of further cost-cutting measures, including redundancies, as the media company continues to navigate challenging economic conditions.

In an internal email sent to all employees on Thursday afternoon, Kelly acknowledged the structural challenges facing the Australian media industry and the need for SCA to operate more efficiently to remain competitive. He noted that despite recent improvements in performance and reductions in operating costs, further cuts were necessary to sustain momentum and position the business for long-term growth.

“To maintain this momentum and further position the business for sustainable growth, it is essential that we now reduce our cost base wherever possible,” Kelly wrote to staff. “Accordingly, we are required to make further cost reductions across areas such as discretionary spend, programming, corporate overheads, and regrettably, our workforce.”

The CEO confirmed that affected staff had already been contacted and expressed his regret over the impact of the decision. “That said, this is the most difficult part of my job and of our leaders, and my thoughts are with those impacted today,” he said.

Kelly reiterated that SCA remains focused on revitalising and future-proofing the business, emphasising the company’s confidence in its strategic direction.

“Our people are critical to the realisation of our plan, and we thank you for your ongoing support as we work together to ensure a strong and sustainable future for SCA,” he added.

SCA declined to provide further comment on the number of departures or additional details regarding the restructuring. The announcement follows a period of heightened corporate activity, with SCA recently being the target of acquisition interest from other Australian media operators.

Mediaweek will follow up with further details when SCA releases its half-year results next week.

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Woolworths Group chief marketing officer Andrew Hicks will step down at the end of the 2025 financial year, marking the end of a 16-year tenure with the supermarket giant.

Hicks, who has held the CMO role since 2019, announced his departure to staff on Thursday, though it is understood he made the decision several months ago. He will remain connected to the business in a strategic brand consulting capacity as Woolworths continues its transformation.

A career spanning Dan Murphy’s to Woolworths’ turnaround

Hicks first joined Woolworths Group in 2008 as national marketing manager at Dan Murphy’s, later moving into a broader role as general manager of marketing for Woolworths Liquor Group in 2012.

In 2015, he transitioned to the Food portfolio, heading up marketing for Woolworths supermarkets before taking the CMO position in 2019. Over the years, Hicks has played a critical role in brand transformation, crisis response, and strategic marketing initiatives.

In a statement to Mi3, Hicks said it was the right time to take his next career step.

“It has been an enormous privilege to have been a part of the leadership team at Woolworths Group and to have been trusted with the opportunity to guide and grow such an iconic portfolio of brands.”

“I have been privileged to have been surrounded by such a talented and committed brand and marketing team, including our agency partners.”

Woolworths CEO Amanda Bardwell praised Hicks’ strategic, creative, and leadership impact over the years, particularly highlighting his contributions to:

• The group’s response to COVID-19

• Award-winning marketing campaigns

• The establishment of Cartology, Woolworths’ retail media business

• Repositioning Woolworths Group’s brand and purpose

• The ‘That’s Why I Pick Woolies’ brand platform

“Andrew has always led with care, purpose, and creativity. We’d like to thank Andrew for his many years of support, the significant cultural change he has impacted, and for his keen insights, humour, and the heartfelt customer focus he brought to our business,” Bardwell said.

While Hicks will officially exit his role on June 30, he will continue to support Woolworths in a consulting capacity as the company embarks on its next phase of transformation.

Hicks’ departure leaves a major CMO vacancy, with Woolworths yet to begin the search for his replacement.

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An advertisement by Hancock Prospecting, the mining and agricultural company owned by Gina Rinehart, has been ruled misleading by Ad Standards over claims that its methane gas is “clean.”

The online ad, which stated “Our clean gas keeps the lights, and factories, hospitals, and shops open from Tokyo to Toowoomba”, faced a complaint from climate communications group Comms Declare, which argued the claim was unsubstantiated and misleading.

Hancock Prospecting defended the ad, citing Clear Ads approval and stating that its use of “clean gas” was not deceptive. The company also pointed to industry research suggesting gas is cleaner compared to some energy sources.

However, the Ad Standards Panel found the term “clean gas” lacked definition and could lead consumers to believe gas produces no emissions or environmental harm. Without disclaimers clarifying its meaning, the ad was deemed to have breached the AANA Environmental Code for failing to be truthful and properly substantiated.

The ruling advises that: “The Panel considered that without further disclaimers explaining the limitations of the word “clean” in this context, the advertisement was misleading or deceptive or likely to mislead or deceive.”

The advertisement is now discontinued.

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Iconic Australian soap Neighbours is set to be cancelled – again – after production company Fremantle Media failed to secure a new deal with Amazon, just two years after the streaming giant revived the show.

According to The Sun, production will wrap by mid-year, with the final episode airing at the end of 2024. Amazon originally brought Neighbours back in a multi-year deal after its 2022 farewell episode featured star-studded cameos from Margot Robbie, Kylie Minogue, and Guy Pearce.

Following news of the show’s cancellation, a petition to save Neighbours gathered over 60,000 signatures. In November of that year, Amazon Freevee announced it would revive the series.

The show was then relaunched in 2023, but after the service was folded into Prime Video, its future became uncertain. Now, it appears the lifeline has run out.

It’s unclear whether the cast and crew have been informed about the show’s fate.

Former Neighbours star Christie Hayes, who now hosts the Dan & Christie breakfast show on Hit 100.9, touched upon the reports saying they have left her “really upset”.

“There are crew that are going to lose their jobs, there are cast members that are going to lose their jobs. This production employs a lot of people, and people that have been there for many years,” she said.

The former Home and Away star went on to urge fans to write to Amazon and plead with them  not to cancel the soap.

“The show might not be over yet, and I think it’s important if you could take two seconds from your day and  email Amazon and just say, “Hey guys, you have the budget. Try and make it work again, because we believe in this”.

“Because if you can stop people from being unemployed in a really tough time in Australia as it is, I really do implore you, and you’re helping good people,” she said.

The revived series made waves last year, earning its first-ever Emmy nominations for Best Daytime Drama and Best Guest Performance for Pearce.

Mediaweek has reached out to Fremantle Media for comment.

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Television news has lost one of its legendary figures today with the passing of Paul Mullins, Network 10’s long-serving state political reporter.

Mullins was a standout member of the NSW press gallery who was highly respected as a formidable journalist by politicians and colleagues.

Born at Sydney’s Royal North Shore Hospital in 1945, Mullins was the eldest of two children, with his younger sister Caroline, now retired.

Mullins started his career in newspapers before moving onto television, becoming the NSW state government reporter for 10, where he worked until his retirement.

He will also go down in Australian news folklore, following a famous clash with former Prime Minister (then journalist) Malcolm Turnbull in the Press Gallery. Turnbull, who recounts the incident in his book, encountered the ire of the seasoned reporter after trying to out scoop him on an article. As the story goes, Mullins grabbed Turnbull by the shirt and pushed him up against a wall.

Sandra Sully, news presenter, 10 News First, paid tribute to the iconic journalist after working closely with him saying, “Paul was beloved in the 10 newsroom. He was the ultimate political roundsman – completely across his brief. Always thorough and always decent.

“I was very fortunate to have worked closely with him for a couple of years. He took me under his wing when I first came to Sydney and could not have been more generous with his time and guidance.

“He was a lovely man. Vale Paul.”

Mullins is survived by his four sons, their four grandchildren and his second wife Lisa. Mullins was also father to a fifth son who passed away.

When asked by Mediaweek how he wanted his dad to be remembered, Mullins’ middle son Scott said: “as a great bloke and a good friend.”

Short, sharp and to the point. Just like Mullins’ would’ve wanted.

Pictured: Paul Mullins

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Ogilvy has welcomed Max McKeon as its new Sydney ECD.

McKeon is known for his work on high-profile campaigns including the lauded Superbowl ad “It’s a Tide Ad”. He joins the agency from Special where he has worked on big-name brands including Uber Eats, Kayo Sports and Pepsi for the past four years.

Before working at Special, McKeon spent time in New York with the likes of Saatchi & Saatchi, at Colenso BBDO New Zealand, plus Publicis Mojo and The Monkeys in Sydney.

McKeon work has been internationally recognised with Grand Prix at Cannes Lions, multiple D&AD pencils, including a legendary Black Pencil, One Show, Clio and LIA among others.

“Max has no right to be the humble, self-effacing human that he is with a body of work like his,” Ogilvy Network ANZ chief creative officer Toby Talbot said.

“He has his name on two of my favourite ads of all time, ‘It’s a Tide ad and ‘I’m drinking it for you’. We’re incredibly excited to have him join the Ogilvy family at this time. Taking on the Sydney ECD role will allow him to develop his creative leadership potential even further. He can bring his formidable skills to our clients, people and culture.

“His curiosity for different-shaped ideas is a great fit for Ogilvy, and his desire to work closely with our other creative leaders across all disciplines of our business was a big attraction for him.”

McKeon will work closely with ECD Bridget Jung, who will continue to focus on earned creativity, overseeing creative at Ogilvy PR, as well as leading the creative output of Ogilvy Health and Ogilvy One. He will also work side by side with other Ogilvy creative leaders in addition to Talbot and Ogilvy Network chief strategy officer Fran Clayton.

Ogilvy Sydney managing director Michelle Holland said: “Max’s passion for craft and his ability to connect with audiences across different platforms makes him a truly exceptional creative talent.

“He’s known for pushing creative boundaries and fostering a collaborative and inspiring work environment, aligning perfectly with Ogilvy’s values and focus on developing transformative and inspiring work. We’re excited to welcome him to the team.”

McKeon, who will commence duties in the middle of March, said of joining: “Ogilvy, as a network and locally, has really been hitting its stride in terms of talent, clients and the work. I’m very flattered that this wonderful team, at such a great moment, would lend me their coattails. It’s such a powerful and varied offering, and that makes for a very interesting playground. In the immortal words of David Ogilvy ‘I’m pretty jazzed’.”

Top image: Bridget Jung, Toby Talbot, Max McKeon, Michelle Holland, Fran Clayton

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With the trial of Erin Patterson expected to begin soon, nearly two years after a fatal lunch that rocked the Australian community, ABC has launched a daily podcast offering in-depth and real-time updates on the case. The podcast promises to dive into the legal intricacies of the trial while keeping the human side of the story at the forefront.

Why the Erin Patterson case?

The case has sparked overwhelming public interest, partly due to its chilling premise, Patterson allegedly poisoned her family with deadly mushrooms, resulting in multiple deaths and hospitalisations. While much of the public knows the case revolves around these poisonous mushrooms, little has been revealed about the other evidence collected by the police. With Patterson pleading not guilty, the prosecution will present this material during the trial. The podcast will explore this evidence and offer listeners a deep dive into the unfolding legal proceedings.

Kristian Silva, the ABC News court reporter told Mediaweek: “When the ABC first started covering the deaths related to the Erin Patterson case, audience interest surged. It became clear that this was a story unlike any other, with an audience that transcended typical true crime listeners.”

Stephen Stockwell, ABC producer and podcast host added that the case attracted a unique demographic compared to traditional true crime content, prompting ABC to explore new storytelling formats. “We recognised an opportunity to serve an audience looking for more than just crime; they wanted to understand the legal complexities and follow the case in real time.”

Tapping into new demographics

Although true crime podcasts have a well-established following, Stockwell noted that this series may appeal to a broader audience, especially given its accessible structure. “Our podcast is designed to cater not just to traditional true crime listeners but to those looking for an informative and engaging introduction to the legal system,” he said. “We aim to educate listeners while still keeping them entertained.”

The team is particularly interested to see whether this series, with its unique approach and subject matter, can attract new listeners outside the usual demographics. “True crime audiences tend to be in the 30-50 age range, with a notable skew towards women. But we think the Erin Patterson case could appeal to a wider audience,” Stockwell said.

Unlike many true crime podcasts, which release episodes on a weekly basis, the Erin Patterson podcast will offer daily updates. This format, Stockwell explained, allows the team to provide listeners with timely information, particularly as the case moves through its various stages in court.

“Daily updates will allow us to keep the audience engaged and informed as events unfold,” Silva said. “We’ll cover the slower days too, where there might not be major developments, but we’ll still provide updates so listeners can follow the case closely.”

This daily format comes with its own set of challenges, especially when considering potential delays or interruptions in the trial, such as legal issues that might halt proceedings. However, Stockwell and Silva are confident their legal team’s guidance will keep the podcast on track and legally sound, ensuring that the trial’s integrity remains intact.

Navigating legal challenges

Given the high profile of the case, the podcast’s team is acutely aware of the legal risks involved in covering an ongoing trial. As Stockwell explained, “We’re working closely with the ABC’s legal team to ensure every episode is reviewed before publication. We’re cautious about the potential legal ramifications and strive to strike a balance between providing insightful commentary and respecting the legal process.”

Silva added, “We’re also aware that the prosecution, defence, and even the court itself will be paying close attention to every word we publish. We’re being extremely careful to ensure our coverage doesn’t jeopardise the case.”

Engaging a global audience

Another exciting aspect of the podcast is its potential to attract international listeners. Silva and Stockwell both see the case as having global appeal, particularly given the international attention it has already garnered. “We’re hopeful that, as the case progresses, our podcast will not only serve local audiences but attract listeners from around the world,” Silva said. “The podcast will give listeners an insight into the Australian legal system, which isn’t something every trial can offer.”

The team is excited about the podcast’s potential to showcase the legal process, with Stockwell noting, “This case is unique in that it’s garnered massive attention, both nationally and internationally, and we’re thrilled to provide a real-time, behind-the-scenes look at how the legal system works.”

To ensure the podcast reaches its audience, the ABC is implementing a variety of promotional strategies, including embedding links in news articles and leveraging social media platforms. Stockwell also mentioned the use of short social videos to keep audiences updated on key developments, directing them to the podcast for more in-depth coverage.

With the trial expected to span several months, Stockwell and Silva aim to maintain a consistent and engaging presence, keeping listeners coming back for daily updates, even during quieter periods in the trial.

A bite-sized experience for listeners

One key feature of the podcast is its format. Each episode will be a bite-sized update, lasting between 15 to 25 minutes, designed for listeners to easily digest and stay informed without committing to lengthy episodes. “We know that listeners appreciate the convenience of short, digestible content, especially in a fast-paced case like this,” said Silva. “Our aim is to make sure listeners can stay engaged without feeling overwhelmed.”

The duo is optimistic about the success of the podcast, which promises to offer more than just a recounting of events. “We want to show the human side of the legal process, highlighting the ups and downs of the case as it unfolds,” said Silva.

As the trial progresses, the team at ABC is confident that the Erin Patterson podcast will continue to captivate its audience, offering both education and entertainment in equal measure. “We’re excited to take listeners along for this journey,” Stockwell concluded. “It’s a unique opportunity to showcase how the legal system works, while also keeping our audience deeply engaged.”

Stay tuned for the latest updates by subscribing to the podcast on the ABC Listen app.

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In agency life, there is a tendency to place greater value on the most difficult and demanding aspects of our work while overlooking those that bring pleasure and joy. Whether it is a challenging client conversation, writing a detailed report, or crafting a complex presentation, these tasks are often seen as indicators of true dedication and value.

Meanwhile, relationship-building activities, creative collaboration and even moments of leisure are frequently dismissed as secondary or less impactful. I ask the question: Why? Why do we elevate pain and discomfort and dismiss the benefits that can come from creative collaboration and relationship-building when both are crucial to long-term success?

At the heart of this mindset is a deeply ingrained cultural bias: the idea that hard work, effort, and sacrifice must precede success and value.  Psychologists refer to this as the “effort justification effect”—the idea that we place greater value on things that require significant effort or hardship. If something is challenging, we assume it must be worthwhile. If something feels enjoyable or effortless, we tend to undervalue its impact.

This perspective is not just a cultural concept; it is deeply rooted in our evolutionary psychology. Historically, survival depended on overcoming adversity. The more challenging an experience, the greater its perceived reward, whether in terms of physical survival, social status, or intellectual progress. In modern work environments, this translates into a bias that prioritises stress, long hours, and high-pressure tasks over equally important experiences like collaboration, relationship-building, and creative thinking.

Building strong and lasting relationships is fundamental to our personal success and that of the agencies we work in and the clients we work with. We know building connection beyond the transactional element of the product or service we provide, leads to long term growth opportunities. When we prioritise connection, it often creates a deep sense of loyalty, which in turn leads to better communication, better solutions and a shared commitment to prosperity. It could be argued these moments offer more value than the production of content as connection unlocks insights, strengthens bonds and develops unity.

The irony is that many of the most successful agencies are built not just on hard work but on strong relationships. Beyond the transactional nature of services offered, long-term growth often stems from trust, collaboration, and shared vision. A client lunch, a brainstorming retreat, or an industry event may not generate a spreadsheet full of measurable outputs, but these moments cultivate loyalty, unlock insights, and lead to better communication and solutions.

Some might argue that these moments are even more valuable than traditional outputs, as they serve as the foundation for innovation and growth. Creative problem-solving does not happen in isolation—it thrives in environments where people feel inspired, supported, and free to think differently. The challenge is not in working harder but in working smarter, ensuring that both the difficult and enjoyable aspects of work are recognised as essential to success.

If we want to build a sustainable agency model, particularly in Australia where innovation and creativity are essential, we must rethink the bias. Prioritising moments of pain over pleasure may lead to burnout and disengagement. As leaders, we must recognise that there is inherent value in both the challenging and the enjoyable moments of work. Striving for a balance where people feel comfortable engaging in both the difficult and the enjoyable parts of their roles is crucial for long-term success.

In my own leadership journey, I have experienced both extremes. I have worked with some of the industry’s best minds. I’ve also experienced environments where stress and discomfort were prioritised above all else. The lessons learned from both have shaped my leadership approach today.

Leadership is about creating an environment where people can grow, expand their knowledge, and deepen their passion for the industry requires intentional leadership. This means fostering a culture where both challenging and pleasurable moments are seen as equally valuable.

It is easy to say, “it’s changed since my day” and indeed it has, and quite rightly so. Today we recognise work environments are constantly evolving and the way we approach leadership, and creativity must surely evolve with it. However, one thing must remain constant, the need to attract bright, creative minds who challenge norms, break down barriers, and bring fresh ideas to the table. To fuel innovation and creativity, we need a healthy balance of experiences, ones that are both challenging and fulfilling. Only then can we create a sustainable, dynamic work environment where talent thrives, and long-term success is assured.

So, the next time you hear a colleague planning a client event or an off-site brainstorming session resist the urge to view it as time wasted, recognise it is an investment … one that is as valuable as the spreadsheets and reports that define the traditional concepts of productivity.

Because, as always balance is everything.

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Officeworks is expanding its retail media network with the introduction of digital screens in 170 stores nationwide. The rollout follows a successful trial and aims to enhance the in-store experience while offering additional media opportunities for brand partners.

The new screens will feature a mix of branded and supplier content, strategically placed for maximum visibility. This builds on Officeworks’ existing retail media platform, which provides partners with access to both owned and paid advertising channels.

Jessica Richmond, Officeworks general manager of customer and online, said the expansion would create new opportunities to engage customers and suppliers.

“Reflecting our commitment to making bigger things happen, this evolution of our retail media network will provide our customers with an improved in-store experience and give brand partners the opportunity to connect with them at scale.

“We’ve seen a strong response from supplier to our current retail media offering so we’re excited to now give them and new brand partners access to digital screens across our store network nationally,” Richmond said.

reo, powered by oOh!media, has been chosen by Officeworks to oversee the in-store screen network, providing hardware, software, and services under a multi-year agreement.

Neil Ackland, chief retail media Officer, oOh!, said: “Officeworks is an iconic and trusted brand, and this partnership highlights the strength of reo in enabling retailers to stand up a best-in-class screen network by tapping into the expertise of reo and oOh!. I’m delighted to be working with Officeworks to bring their strategic vision to life.”

Installation of in store screens is underway with the full expanded network available from March 2025.

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Nespresso Australia has launched a new campaign building on Introducing Nespresso Presents: Happy Hour, created by earned creative agency Poem.

The campaign takes inspiration from the recent trend being seen overseas and with many young Australians trading late nights for high-energy mornings. The Happy Hour will bring free sunrise DJ sets featuring homegrown artists Cosmo’s Midnight and Winston Surfshirt to Sydney and Melbourne this month.

The campaign is underpinned by McCrindle research commissioned by Nespresso, which revealed Gen Z (76%) and Millennials (75.9%) plan to wake up earlier in 2025 to reclaim “me time” (compared to Gen X (48%) and Baby Boomers (31%)), and with coffee top of the list for how they want to spend it.

Research also suggested Gen Z may be cooler when it comes to coffee, as iced servings skew younger: 41 percent of Gen Z now prefer iced coffee to hot – a significant shift from Millennial (21%), Gen X (9%) and Baby Boomer (6%) preferences, showing Aussie coffee tastes are changing.

Gen Z is also the generation most likely to make their coffee at home to save money (85.6%), but still prioritise quality with 57.5 percent of Gen Z coffee drinkers identifying as coffee snobs.

Monique Dean, Nespresso Coffee ambassador, said Gen Z is ahead of a raft of new trends, from their love of iced coffee and approach to cost savings, to their early morning wake-up goals – and Nespresso is here to help.

“Nespresso Presents: Happy Hour provides the perfect backdrop for this new generation of coffee lovers to reclaim their morning “me-time” with intimate sunrise sets and quality iced coffee at its centre,” said Dean. “We’re excited to showcase some of our new and most popular coffee blends specially designed to taste their best over ice – all of which can be the perfect choice for Aussies seeking simple and affordable iced coffees to enjoy at home and on the go.”

The integrated multichannel earned campaign was led by Poem driving strategy, creative, influencer, content and publicity,

“Nespresso tasked us with reaching a younger demographic and showcasing their premium coffee experience,” Poem general manager, Rhania Farah, said.

“Recognising that younger coffee drinkers approach life and interact with brands differently, we developed a strategy that leveraged cultural trends to earn attention across paid, owned and earned channels. The success of Nespresso’s previous campaign with TikTok creator Brooke Saward proves the effectiveness of this approach.

“This new campaign builds on that momentum, demonstrating how brands can authentically and strategically engage with cultural moments to achieve real results.”

Nespresso will hold its Happy Hour DJ sets:

• Sydney – North Bondi Fish, February 21, 7AM
• Melbourne – Soundmerch, February 28, 7AM

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Wednesday marked the fifth anniversary of the establishment of the IMAA in Australia, aimed at creating an equitable environment for all independent agencies. This development held significant importance for indie agencies, as it fosters a more balanced playing field, ensuring that independent firms receive equal treatment and opportunities comparable to larger media entities, with which many of us have collaborated or worked in the past.

It is reassuring to know that we are supported as independent agencies, with access to additional training and mentorship that guarantees every indie team can seize opportunities, whether through training sessions or presentations, thereby facilitating our growth.

Let me begin with Jo Griggs from Channel 7, who recounted her unexpected journey into the media industry. It is often a surprise to many, and to be candid, when I entered the media landscape in 2003, it resembled the Australian version of “The Devil Wears Prada” in publishing. Practices that would be deemed unacceptable today were often overlooked back then, and I can confidently state that the media landscape has evolved for the better.

Jo’s reflections on her experiences resonated deeply, particularly for those of us who have been in the industry long enough to remember the days of commissions and leisurely lunches, which have now transformed into sales deadlines and the need for permission to be taken out for a catch up coffee.

The CEO power panel provided valuable insights and advice on how they, along with their brands, can help propel indie agencies forward.

Nat Harvey, the CEO of Mamamia, shared insights regarding data and how they can support agencies in their growth or provide their clients with access to Mamamia’s extensive resources. Meanwhile, Michael Miller from News Corp offered detailed comparisons between the US and Australian markets, highlighting the trend of US companies seeking to establish their own impact rather than aligning with existing entities.

The topic of AI remains a focal point, emphasizing its potential to enhance the efficiency and effectiveness of service delivery within indie agencies. It is essential for individuals to recognize that, similar to other professions, we have our governing body for indie agencies, which is the IMAA. We all undergo various evaluations and assessments.

Indie agencies are smaller and nimble but usually filled with more years of experience than some of the big guys.

I urge clients to work with a IMAA associated indie agencies as you really will get a dedicated and talented team backed by a great leadership team of the IMAA. We have access to great partners and have the support.

Top image: Diane Markovski

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The Company We Keep (The CWK) has been acquired by events and experiential marketing company, Opus Agency.

The acquisition will see Opus Agency, part of The Opus Group, offer clients expanded capabilities in crafting future-forward events and experiential marketing, delivering seamless cross-border solutions, and fostering deeper connections between brands and their key stakeholders.

The CWK has offices in Australia, Singapore, and New Zealand, and a team of more than 80, bringing localised expertise in delivering exceptional brand experiences, enhancing Opus Agency’s ability to provide comprehensive solutions on a global scale.

“The alignment between Opus Agency and The CWK is remarkable—from our shared clients like Salesforce to our creative capabilities, and our cultural ethos,” Nigel Ruffell, founder and CEO of The CWK, said.

“This partnership opens up new opportunities for our team, our clients, and our future, as we continue to lead in the APAC region while contributing to Opus Agency’s global success.”

Dena Lowery, president of Opus Agency, said: “This acquisition enables us to better serve our clients in the world’s fastest-growing and largest cities, while also enhancing our capabilities with deeper expertise in content, broadcast, and film. It’s a strategic move that strengthens our ability to deliver high-impact, future-forward experiences across the globe.”

Kim Kopetz, President and CEO of The Opus Group, said: “This acquisition aligns with The Opus Group’s mission to provide global access to scalable resources and specialised talent across our network of brands. It enables us to navigate complex challenges and scale operations efficiently while creating new growth opportunities for our clients and our team members around the world.

”As the combined entity moves forward, Opus Agency and The CWK will continue to drive innovation in events and experiential marketing, creating future-forward experiences that resonate across borders. By leveraging shared client relationships, and offering scalable talent and localised expertise, the partnership enables brands to reach new heights, foster deeper connections, and thrive in an increasingly interconnected world.”

Top image: Kim Kopetz, Nigel Ruffell, Dena Lowery

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News Corp Australia has officially launched its 2025 national advocacy program, the Future series, at an event in Adelaide today featuring Prime Minister Anthony Albanese.

The initiative brings together leaders, decision-makers, and innovators from across Australia to discuss opportunities, challenges, and growth across states and territories.

State and communities commercial director, John Lehmann, said: “With the federal election on the horizon, there’s no better time to discuss the future of our states, regions and cities.

“The Future series, led by our masthead editors, has one central purpose: to drive positive change for our readers and their communities.”

The event will also feature South Australian Premier Peter Malinauskas, and will see both Albanese and Malinauskas sharing their visions for the state. Next week, Future VIC in Melbourne, hosted by the Herald Sun, will see the Prime Minister deliver the keynote address.

The series will continue throughout the year, with events scheduled in Geelong (March), Western Sydney (April), Townsville (June), the Northern Territory and Gold Coast (July), Brisbane (October), and Sydney (November).

Coverage of the Future series will appear across multiple publications, including The Advertiser, Herald Sun, Geelong Advertiser, The Daily Telegraph, The Courier-Mail, Townsville Bulletin, Gold Coast Bulletin, and NT News, along with highlights on Sky News and SkyNews.com.au.

Corporate sponsors are backing the initiative, with Future SA supported by SkyCity, Mitsubishi, Santos, RAA, Walker Corp, Adelaide Airport, BHP, and Beach Energy, while Future VIC is sponsored by Swinburne University, Crown, Transurban, Villawood Property, Western Melbourne Group, VCCI, Avalon Airport, and CSL.

Pictured: Prime Minister Anthony Albanese

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Weis has unveiled a refreshing twist with its ‘Saviour of Summer’ campaign with Mindshare.

The Australian ice cream and GroupM agency challenging the category norm of beach activations by flipping the script and heading west to Penrith, acknowledging that those furthest from the coast often experience the highest temperatures.

Weis made the experience a little more magical by bringing the Weis-a-Corn, a custom-built ice cream van with all the hallmarks of the majestic and fabled Unicorn.

The ‘Saviour of Summer’ campaign kicked off with the Weis-a-Corn truck making stops at key locations in Penrith, offering free Weis bars to families.

“We wanted to bring not only the joy of a refreshing Weis bar to those braving the heat this summer, but also something rare and exciting, a potential unicorn sighting,” said Helen Zhang, brand manager, snacking and refreshment at Unilever.

“Summer should be enjoyable for everyone, and we’re thrilled to share these magical moments with the Sydney community.”

The campaign has already generated buzz with pre-event hype on Nova radio, featuring live reads and talent activations with key on-air talent Fitzy & Wippa and Kate, Tim & Joel.

The fun continued as the Weis-a-corn, in the spirit of including its coastal friends, trotted on over to the Manly Wharf to share the magic.

The “Saviour of Summer” campaign continues throughout February with a “Spread the Joy” activation across Sydney’s inner-west suburbs, also in partnership with Nova.

Mindshare national head of strategy, Elliott Eldridge added: “This campaign is about more than just handing out ice cream; it’s about recognising a community need and delivering a little bit of summer joy in a unique and engaging way.

“We’re proud to partner with Weis and Unilever on this incredible campaign.”

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A new podcast from the Australian Radio Network(ARN) will aim to explore the realities of late diagnosis and its impact on identity, relationships, careers, and well-being.

Produced by Life Uncut, Cloud is a 10-part mini-series hosted by broadcaster and podcaster Keeshia Petit. The series features guests including Mark Manson(The Subtle Art of Not Giving a F*ck), psychiatrist Dr Kieran Kennedy, focus and attention expert Johann Hari, and international dating expert Logan Ury, each offering insights into different aspects of ADHD.

Inspired by Petit’s own late diagnosis of hyperactive and inattentive ADHD, Cloud takes the perspective that ADHD is a difference, not a deficit. The podcast’s name reflects the experience of many late-diagnosed women who describe feeling like a “cloud was lifted” upon understanding how their brains work and how they navigate society.

According to the US Centre for Disease Control and Prevention, more than half of all individuals diagnosed with ADHD in 2024 were diagnosed in adulthood.

Cloud host Pettit revealed she spent a lot of her life feeling as though she wasn’t “fully present” for it.

“There is a lot of airtime going to ADHD right now, but Cloud feels like a different type of conversation. This series breaks down some of the existing narratives about what people with ADHD are like and focuses on the ways that we can lift the cloud on the different ways our brains are wired so that we can live fulfilling and present lives,” she said.

Cloud marks the first production from the team behind Australia’s #1 Relationship and award-winning podcast Life Uncut, which was founded by co-hosts in 2019.

Both Hockley and Byrne championed the podcast: “For the past six years Life Uncut’s primary focus has been to have the conversations that people have been having in private; conversations that empower and uplift women, which is why it is so exciting to expand the business with the launch of Life Uncut Productions.”

The first two episodes of Cloud are now available on iHeart or wherever you get your podcasts, with a new episode dropping each week.

Pictured: Keeshia Petit

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The Road Safety Advisory Council (RSAC) have rewritten the ‘Bro Code’ in a new campaign aimed at reducing drink-driving rates among young drivers in Tasmania.

RSAC teamed up with cummins&partners to build on the existing ‘Real Mates’ anti-drink-driving platform. ‘Know the Bro Code’ takes a fresh approach to a serious issue, turning instead to the power of positive peer pressure to communicate that ‘real mates don’t let mates drink drive’.

By reimagining the well-known ‘Bro Code’ – the unofficial set of rules that govern mateship – the campaign taps into the brotherhood and camaraderie of close friendships to normalise responsible behaviour and create a culture where looking out for each other on nights out becomes second nature.

To bring the new Bro Code to life, Tasmanian YouTube star and Young Australian of the Year nominee, Ella Watkins, along with her close-knit group of mates, were given a starring role. Known for her authentic voice and influence among young Tasmanians, Ella helped embed the campaign’s anti-drink driving message in a way that resonated with her peers.

Mark Bonanno, of Aunty Donna comedy fame, took the reins as director, offering a balance of light-heartedness and sincerity.

“The biggest thing for us was to build on what is already instinctual behaviour,” Alice Tran and Becky Worley, creative team at cummins&partners, said.

“Behind the posturing and partying there’s usually a close-knit group of mates who just want to look out for each other – and this extends beyond the friendship group too. So instead of lecturing people who already know what’s right and wrong, we wanted to imbed the habit of planning how to get home, and remind people there’s a community that have their back if they do get stuck – so whether it’s bar staff putting you in a cab, or crashing in your mates bath – there’s always an alternative to drink-driving.”

As part of the RSAC media launch, Scott Tilyard, chair of the Road Safety Advisory Council, said: “We’ve added new rules to the Bro Code that encourage mates to help each other get home safely. A bro is anyone who follows the Bro Code and looks out for you. Your mum can be a bro, your sister can be a bro – basically anyone who’s got your back and ensures you make it home without trouble is a bro.”

“We’re not discouraging anyone from having a good time, we’re just encouraging everyone to think ahead. In some areas of Tasmania, not everyone has access to Uber, so it’s even more important to have a plan. With this in mind, the temptation to drive after drinking is even stronger if it doesn’t feel like there’s an alternative.”

The campaign launched with a TV spot, OOH placements across the state, social media, radio, and even a Snapchat game that helps friends pick their designated driver. It will also be supported by community engagement initiatives, including partnerships with local sporting clubs and pubs.

Credits:

Road Safety Advisory Council Tasmania:
Marketing Officer, Marketing & Communications, Road Safety branch: Amy Pennington
Manager, Marketing & Communications, Road Safety branch Yvette Stubbs
Manager, Road Safety Branch: Craig Hoey

cummins&partners:
Chief Creative Officer: Sean Cummins
General Manager: Katherine Chen
Head of Strategy: Tim Collier
Executive Creative Director: Brendan Willenberg
Art Director: Alice Tran
Copywriter: Rebecca Worley
Executive Producer: Steven Tortosa
Account Director: Lily O’Connell
Media Director: Johan Micheelsen
Director: Mark Bonanno, Haven’t You Done Well Productions

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