The Australian Marketing Institute (AMI) has introduced a new award in tribute to the late marketing leader Lisa Ronson.
The Lisa Ronson Next Generation Leader Award will form part of the 2025 AMI Marketing Excellence Awards, spotlighting rising talent in the industry while celebrating Ronson’s legacy of creativity, mentorship and strategic leadership.
Ronson, who died in late 2024 following an accident, was widely regarded as one of Australia’s most respected marketing voices.
Her career spanned over 25 years, with high-profile CMO roles at Medibank, Coles, and Tourism Australia. The new award reflects not only her professional accomplishments but also her unwavering support for the next generation of marketers.
At the heart of the new award is the recognition of emerging marketers who demonstrate early leadership potential, creativity and a willingness to mentor others, qualities Ronson embodied throughout her career.
Her husband, Chris Taylor, a co-founder of My Shortcut and AMI board member, expressed his deep appreciation for the initiative. “Lisa championed creativity, accountability and above all, people,” Taylor said.
“She believed in supporting others and was a tireless mentor to many across the industry. To see her legacy acknowledged in this way is a beautiful reminder of the impact she made.”
Ronson had long been involved with AMI, including as an ambassador for its Emerging Marketers program.
AMI CEO Bronwyn Heys described the new award as a natural extension of Ronson’s contributions. “Lisa was a true mentor who championed growth in every young marketer she led,” said Heys. “This award is our way of continuing her legacy and encouraging others who share that same spirit.”
The Lisa Ronson Next Generation Leader Award adds a fresh dimension to the AMI Marketing Excellence Awards, which are now entering their 42nd year.
With a renewed focus on recognising not only creativity and effectiveness but also industry mentorship and cultural contribution, the award aligns with a broader shift toward marketing leadership that balances performance with purpose.
The 2025 program has also been designed with accessibility in mind, offering reduced entry fees and bonus AMI membership for non-members.
Entries for the 2025 AMI Marketing Excellence Awards close on Friday, 6 June. Winners will be announced at a gala event at Sydney’s Ivy Ballroom on 15 August.
GroupM has confirmed it has made redundancies across its Australian operations as part of a broader strategic restructure under parent company WPP.
A source affected by the changes told Mediaweek a number of employees had been let go across “the agency’s investment teams” earlier this week.
GroupM’s agencies include EssenceMediacom, Mindshare, and Wavemaker.
A GroupM spokesperson confirmed “a small number” of redundancies were made, telling Mediaweek: “Like many businesses, we are continuing to evolve our strategy and structure for the future.
“Unfortunately, this has meant that we have made a very small number of roles redundant locally. While the impact is limited, we recognise that these decisions are not easy and do impact people’s lives.
“We’d like to thank those people for everything they’ve done as part of GroupM and we will continue to support them and our people through this process.”
While GroupM did not confirm the exact number of employees let go, Mediaweek understands the changes span several business areas. Staff have been notified and there are not expected to be further job losses.
The restructure follows news that GroupM is to restructure globally and rebrand as WPP Media.
As one of the world’s largest media investment companies managing over $60 billion in annual media spend, the company has not been immune to broader industry pressures.
A soft advertising market, global economic uncertainty, and the rapid rise of AI have accelerated a sector-wide push to streamline operations, eliminate legacy structures, and drive greater efficiency.
While restructures globally mean significant change to GroupM operations, locally the impact is understood to be less dramatic.
During WPP’s 2024 annual results presentation in January, CEO Brian Lesser told staff, “We know that we have to be simpler and there is more work to do.”
He added, “We are further simplifying our structure to become a unified company with one voice to clients and partners.”
UM Australia has appointed Lisa McMillan as Managing Director, Government, to oversee the agency’s work across the Australian Federal Government and ACT Government accounts.
McMillan replaces Brett Elliott, who from the agency earlier this year.
Her remit includes strategic leadership of UM’s Government practice, overseeing the Federal and ACT Government accounts and guiding a national team of over 80 specialists in policy-driven media communications and public sector engagement.
She is a seasoned leader in media, marketing and communications strategy, bringing more than 20 years of experience to the role and has served as a trusted advisor to major organisations navigating complex regulatory and public interest environments.
McMillan is currently the Chief Client Officer at M+C Saatchi Group’s Bohemia and previously held senior roles at Starcom and Spark Foundry, working with global and national brands including Procter & Gamble, Mondelez, Mars Wrigley, and Brown-Forman.
Throughout her career, she has consistently driven impact through strategic communication connecting with diverse communities and stakeholder groups.
Anathea Ruys, CEO, UM Australia, said McMillan’s appointment reflects the agency’s commitment to deepening its partnership with government clients and continuing to deliver impactful, community-focused media solutions.
“Lisa brings a unique blend of strategic leadership, commercial nous and a deep understanding of navigating complex organisational structures,” Ruys said.
“She’s led teams through fast-paced and high-pressure environments, and is passionate about media’s role in shaping informed, inclusive communities. We’re delighted to have someone of her calibre lead UM’s Government work.”
McMillan said she is honoured to lead UM’s Government practice, partnering with the Australian and ACT Governments on communication strategies that inform, engage and serve the public.
“It’s a privilege to work with clients who shape public policy and deliver essential services to Australians every day,” McMillan said.
The media landscape changes so rapidly, and government communication needs to balance attention, responsiveness and integrity within that challenging environment. I’m excited to lead UM’s talented team as we deliver data-informed, people-centric media solutions that support national priorities and public trust.
“I’m looking forward to delivering meaningful outcomes for our government partners.”
Based in Sydney, McMillan commences in the role on June 30th and reports directly to Ruys.
Top image: Anathea Ruys and Lisa McMillan
Snapchat and Chemist Warehouse have partnered to drive awareness and engagement for its highly anticipated “Mayhem” sale using Snapchat’s new ad format, First Snap.
Chemist Warehouse will drive mass reach with the platform’s Gen Z audience across one of the most used parts of the app – Chat, as the first Australian retailer and retail media network to activate through the new placement.
The “Mayhem” sale is a major promotional event for Chemist Warehouse, offering significant discounts on a wide range of products, including vitamins, cosmetics, baby accessories, and fragrances. During “Mayhem” customers can typically find half-price or up to 50% off RRP select big brand items.
Sponsored Snaps help advertisers engage Snapchatters where they are – through visual messaging in the Chat tab.
The new First Snap product is a first-impression, single-day takeover offering for Sponsored Snaps that delivers a Snap in the Chat Feed, that then can open to a full-screen video asset, and be followed up by a CTA from the brand.
“Snapchat reaches the majority of Gen Z Aussies and we’re excited to be collaborating with Chemist Warehouse to help them grow their business by connecting them with this increasingly important audience,” Ryan Ferguson, Managing Director, Australia and New Zealand at Snap Inc. said.
“First Snap provides a powerful advantage in a competitive market, delivering engaging content directly to over 8 million Australian Snapchatters. Chemist Warehouse’s forward-thinking approach demonstrates their dedication to connecting with customers through innovative offsite retail media solutions.”
According to GWI of Australian Big Box shoppers who use Snapchat daily, 59% aren’t on YouTube on a daily basis, 44% of them aren’t on TikTok and 35% of them aren’t on Facebook on a daily basis.
“Snapchat’s First Snap will allow us to reach a significant number of Australians in a very natural way, right where they are messaging with their friends every day,” Rohan Kohli, Digital Media Lead, E-Commerce & Digital Marketing at Chemist Warehouse, added.
“We’re proud to be leading our category in adopting this new format for our Mayhem Sale, and this campaign is just the beginning of our journey to deliver personalised messaging and impactful results for our valued suppliers through Snapchat.”
The First Snap takeover from Chemist Warehouse will go live on Snapchat tomorrow (Saturday 24 May).
Credits
Snap,Inc.:
Roxy Dinh, Senior Client Partner, Retail ANZ
Jessica Macarico, Account Manager, Retail ANZ
Madeline Moore, Creative Strategy Lead ANZ
Chemist Warehouse:
Rohan Kohli – Digital Media Lead
Shannon Griffiths – Digital Campaign Manager
Portia McKee – Digital Activations Specialist
Mija Hovanjec, Social Media Content Lead
Jessica Hull, Social Content Specialist
After the standout performance of its Paris 2024 Olympic and Paralympic Games network, QMS has confirmed it will continue as the official outdoor media partner for the Australian Olympic Committee and Paralympics Australia at the 2026 Winter Olympics and Paralympic Games..
The partnership will once again see QMS lead the digital out-of-home (DOOH) media strategy around two of the world’s most prominent sporting events.
The Winter Olympics in Milano Cortina, start on 6 February 2026, featuring more than 3,500 athletes from 93 countries, competing in 16 disciplines for 195 medals.
The Winter Paralympics follows from 6 March, with 600 athletes contending for 79 medals across six sports. Australia is expected to send around 50 Olympians and 14 Paralympians.
Building on momentum from Paris 2024, QMS will soon unveil its OOH commercial packages for Milano Cortina.
According to MOVE 1.5 data*, QMS delivered an audience reach of 11.5 million Australians during the Paris Games, dynamically serving over 81,000 real-time breaking news updates – a first in the history of the Australian outdoor media industry.
QMS was able to share medal updates within minutes to OOH sites across Australia, meaning Australians could keep up to date with key wins, almost in real time.
Research conducted by Kantar reported significant uplifts across brand funnel metrics for all QMS partners, with largely double-digit increases across key demographics.
Meanwhile, research from Neuro-Insight found partner campaigns during the Paris Games generated a 22% stronger long-term memory encoding response compared to non-partner activity.
QMS CEO John O’Neill said the Paris results represented a pivotal moment for the business, and for digital OOH more broadly.
“The Paris 2024 Olympic and Paralympic Games were a defining moment for QMS, proving the changing role of digital out of home [DOOH] in omnichannel brand campaigns,” he said. “Through digital innovation and creative dynamism, our medium was able to showcase the power of audience and brand connection through real-time, contextually relevant content at scale.
“This was a true game-changer for the Australian OOH industry and another demonstration of the immediacy, flexibility and results that DOOH now delivers.
“With the Milano Cortina 2026 Winter Olympics and Paralympics on the horizon, we will continue to build on this innovation and connect with Australian audiences, through one of the world’s most-watched sporting events.”
From a branding perspective, the partnership strengthens QMS’s position as a leader in sports-integrated media campaigns and builds on its alignment with high-performance storytelling and national pride; a sentiment echoed by both sporting bodies.
Australian Olympic Committee CEO Mark Arbib said: “The Olympics are the pinnacle of sport – both in Australia and across the globe – and QMS redefined the way we worked with our OOH media partner to engage Australian audiences and share the stories of triumph and unity of our Australian Olympians.
“We’re looking forward to working with QMS again as we harness the power of the rings to inspire and advance our nation.”
Paralympics Australia CEO Cameron Murray added: “Last year we saw firsthand the QMS network’s power in shining a spotlight on disability, inclusivity and social change while showcasing the best of elite sport and the triumph of the human spirit. We couldn’t be more pleased to extend our partnership with QMS for the Milano Cortina Winter Paralympic Games.”
*MOVE 1.5 September 2024, all people 14+
Google’s latest AI leap, Veo 3, promises to let users turn simple text prompts into high-definition, 8-second videos complete with native audio, think ambient sound, dialogue, and even animal noises.
But while the tech giant is selling realism and physics accuracy, what’s capturing unexpected attention is its tendency to crack the same dad joke on repeat.
And yes, the punchline involves a Shih Tzu.
Announced earlier this week, Veo 3 is the latest salvo in a fast-evolving space where OpenAI’s Sora and other AI video generators are also vying for dominance.
But where most competitors stop at visuals, Google’s offering goes further, generating audio that’s meant to sync with lip movement and real-world physics.
According to Eli Collins, vice president of product at Google DeepMind, Veo 3 excels in multiple areas from text-to-video realism to precise lip syncing.
The model is now available in the US through two pathways: Google’s Ultra AI plan at $249.99 USD per month, targeting creative professionals and AI super-users, and through Vertex AI, its enterprise-grade platform.
However, a curious quirk of Veo 3’s outputs has surfaced. No matter the prompt, users have found the tool repeatedly generates the same dad joke: “What do you call a dog who does magic tricks? A labracadabrador? Nope. A Shih Tzu-dini.”
The consistency is puzzling, to say the least. As 404 Media pointed out this week, when Veo 3 is asked to tell a joke, the ‘Shih Tzu’ line often appears.
While there’s no clear indication of where the actual joke is sourced from, it’s floated across the internet for years making its true origin hard to pin down.
Still, the joke’s recurrence does raise questions about Google’s training data.
Back in March, Reddit revealed in its S-1 filing that Google had entered into a $60 million per year licensing agreement to access Reddit’s post archives as training fodder for AI models.
Reddit called user content a “valuable source of conversation data and knowledge.” It also confirmed plans to continue licensing its data to other third parties and use more AI in its ad offerings.
That content deal, which Reuters reported at the time, could help explain how a dad joke might have become part of Veo 3’s neural vocabulary. Though to be fair, given the joke’s ubiquity, it could have originated almost anywhere.
Beyond the meme-worthy oddities, Veo 3 could hold major implications for content creators and advertisers.
For agencies and brands, particularly those operating in short-form or performance-driven spaces like TikTok, Instagram Reels, or YouTube Shorts, the tool may unlock new efficiencies for creative output.
There’s also the possibility of using AI models like Veo 3 to pre-visualise campaign concepts before full-scale production or to A/B test different ad narratives in-market using generative variants.
But any widespread adoption will likely hinge on whether the model can be trusted not to insert unscripted dad jokes into commercial work.
At the moment, Veo 3 is only available to users in the US, and while Google has not yet announced a rollout date for Australia, if past launches are any indication, international access could follow within months.
Nine has announced the appointment of Brian Gallagher as Commercial Director – Audio to drive the next phase of growth for Nine Radio’s commercial offering.
Gallagher, who has worked as Chief Sales Officer at Southern Cross Austereo, Chief Executive Officer at Ignite Media Brands, is currently the Chairperson of Boomtown.
His new appointment is part of a refreshed sales structure that will come into effect from July 1, 2025.
The restructure is designed to leverage Nine’s scale and cross-platform reach across Total TV, Total Publishing and Total Audio.
Nine’s Chief Sales Officer, Matt James, said, “This change to our sales structure builds on our capability to deliver campaigns that can suit clients big or small, national or local, to engage and grow connections with our audiences. Whether it be a multi-platform campaign or more local, immediate and radio specific, it’s the best of both worlds for brands.”
Tom Malone, Managing Director of Nine Radio, said the new structure reflects the company’s confidence in the long-term commercial potential of audio.
“This is a vote of confidence in the potential growth opportunities that radio presents for Nine,” he said. “This investment will help drive greater commercial returns from our unique audience offering and enable our teams to elevate our focus on direct sales.
“Brian is Australia’s leading Radio and Audio sales executive and is the perfect choice to deepen the collaboration of our Sales division alongside our Content and Operations teams.”
Gallagher brings deep industry experience to the role, having held senior executive positions across major media businesses. His previous roles include Chief Sales Officer at Southern Cross Austereo, CEO of Ignite Media Brands, and Chairperson of Boomtown.
“The market for audio advertising has never been more dynamic, driven by audiences embracing our content across multiple platforms. I look forward to our refreshed commercial approach delivering effective audio advertising to a much broader suite of advertisers.”
The appointment aligns with growing advertiser demand for integrated, data-driven campaigns and deeper audience engagement across radio and digital audio. As the audio market continues to evolve, Nine’s restructure positions it to compete more aggressively for share in a competitive and fast-moving landscape.
Content creators who leaned into the idea of putting on a show (soundtracked by nostalgic audio) saw major engagement wins across TikTok, Instagram, and YouTube for the month of April, according to data from Fabulate’s Discovery platform.
“We’ve seen creators deliver double-digit engagement just by tapping into the power of audio and pairing it with strong visual storytelling,” says Lucy Ronald, Head of Strategy & Talent at Fabulate.
“Sometimes that looks like choreo, sometimes it’s a well-shot musical moment. Either way, audiences are eating it up.”
It turns out a bit of nostalgia, a great track, and a camera-ready move or two can go a long way. Data from Fabulate’s Discovery platform shows that in April, some of the most engaging creator content had one thing in common – strong performance.
Whether it was perfectly-timed dance numbers or emotionally charged musical covers, a bit of nostalgia, a great track, and a camera-ready move or two can go a long way.
Family duo Mossy Tone had a rise in following to 336K, thanks to their ultra-unique covers of trending songs – reimagined as lullabies for their baby. Think: Minecraft meets nursery rhymes with a pop-culture twist. It’s quirky, but it’s working.
On TikTok, DJ Baby J is turned up the volume – and the numbers. With 407K followers and an average 8.54% engagement rate, each of his videos pulls in around 1.3 million views. Proof that a smart audio moment (in the right creator’s hands) can go the distance.
Sydney-based creators Granny Flat Comedy nailed the brief for both laughs and local engagement. Their Paramore “car-aoke” clip (set on a dirt road, naturally) didn’t just rack up 2.5 million views – it doubled as smart branded content for KIA.
With 102K on TikTok, 81.7K on Instagram, and 45.8K on YouTube, they’re a go-to for brands looking to reach Aussies (particularly women in Sydney, who make up 70% of their audience).
From nostalgic music to unexpected settings and clever edits, performance-led content is cutting through – and not just for entertainment’s sake. These moments are proving just how impactful a well-crafted, creative execution can be for both reach and resonance.
Through Fabulate’s Discovery platform, marketers can uncover rising stars like these – the kind of talent driving real results.
Free TV Australia has welcomed new findings from the Australian Communications and Media Authority (ACMA), confirming the continued strong investment by commercial television broadcasters in Australian content.
According to the ACMA’s latest report, TV in Australia: Spending on Commercial TV Programs for 2023–24, commercial broadcasters invested $1.625 billion in local content over the period. This represents 88% of total programming expenditure.
The report highlights a significant commitment to news and journalism, with $408 million spent on trusted news services, including continued funding for regional news and current affairs amid broader economic challenges.
Bridget Fair, Chief Executive Officer of Free TV Australia, underscored the importance of this investment. “Despite challenging economic conditions and increasing competition from global digital platforms, Free TV broadcasters continue to step up and deliver for Australian audiences,” Fair said. “Our commitment to local content remains as strong as ever — from trusted news to live sport and entertainment.”
Free TV CEO Bridget Fair
Fair also noted the unique role of Australian broadcasters in storytelling, contrasting it with international streaming platforms. “While global streamers sell stories, we tell the stories that matter to Australians — and all for free,” she said.
Free TV Australia represents the country’s major commercial free-to-air broadcasters, including Seven West Media, Nine Entertainment Co, Network 10, Southern Cross Austereo, WIN Network, and Imparja Television.
As policy discussions continue around the future of Australian media, Free TV signalled its intent to work closely with government to ensure sustainable industry settings.
News Corp Australia is to launch a new real estate podcast and content series at the 2025 Australian Real Estate Conference (AREC).
As the official content partner of the event, News will use its major metro titles to deliver coverage and insights from the two-day conference held on the Gold Coast from May 25 to 26.
The initiative signals a strategic push into multimedia for the company’s property network, leveraging both editorial firepower and podcasting capabilities to speak to a broad cross-section of the real estate and investment community.
At the heart of News Corp’s presence at AREC is a custom-built podcast centre located within the exhibitor hall’s café.
Designed to facilitate both live and recorded interviews, the setup allows attendees to eavesdrop on conversations with key figures in the property world while networking.
This open-air format is intended to create a more accessible and immediate content experience for conference-goers, while also generating assets that can be distributed across News’ print, digital and audio platforms in the weeks following the event.
The company’s podcast activation is anchored by some of its most recognisable editorial talent. James Kirby, Wealth Associate Editor at The Australian, will record two special episodes of his popular podcast The Money Puzzle.
The episodes will feature discussions with business and property leaders, offering AREC audiences and at-home listeners alike fresh takes on financial strategy and market trends.
Elizabeth Tilley, Real Estate News Editor for The Courier-Mail and Sunday Mail, will also play a central role.
In addition to conducting in-depth interviews with industry leaders and market experts, she will moderate a live session featuring Olympic swimmers Ariarne Titmus and Emma McKeon. The conversation will explore the role of competition and collaboration in driving performance across both sport and industry.
News Corp Australia Head of Real Estate & Planning Lisa Harries
Lisa Harries, News Corp Australia’s Head of Real Estate & Planning, described the initiative as an opportunity to demonstrate the company’s dual commitment to informing professionals and inspiring consumers.
“The News Property Network’s expertise is sought after by industry professionals and consumers alike. We’re delighted to bring our audiences all of the latest industry insights and trends from AREC 2025,” Harries said. “We’re creating a content experience across our platforms demonstrating our ability to drive the industry forward, inspire action, and keep our audiences deeply engaged.”
For advertisers and real estate partners, the AREC activation provides a window into how News Corp Australia is integrating editorial content with commercial objectives.
The initiative not only aligns with the publisher’s broader property strategy but also offers tangible opportunities for sponsorship and branded content across platforms.
The content rollout from AREC will be shared through The Daily Telegraph, Herald Sun, The Courier-Mail, The Advertiser, and The Australian, reinforcing News’ reach in both major metros and growth markets.
AREC 2025 is expected to attract a significant industry audience, with a high-profile speaker list including former US Vice President Kamala Harris, Diary of a CEO’s Steven Bartlett, and Buying Beverly Hills star Mauricio Umansky.
News Corp’s content series is set to capture highlights and insights from the event, extending its influence beyond the Gold Coast convention halls to real estate professionals and investors across Australia.
DoubleVerify, a digital media measurement and analytics provider, has released an advisory via its Transparency Center addressing a surge in fraudulent activity targeting ads.txt files, tools used by publishers to disclose authorised sellers of digital ad inventory.
The company’s Fraud Lab has uncovered over 100 instances of ads.txt manipulation since the protocol’s introduction in 2017.
These cases have notably accelerated in recent years, with fraudsters leveraging the format to appear as legitimate vendors and misdirect advertising budgets.
One of the most significant examples, termed Synthetic Echo, involves a network of more than 200 AI-generated websites.
The sites mimic reputable domains (such as espn24 instead of espn, nbcsportz instead of nbcsports, and cbsnewz instead of cbsnews) and are monetised through multiple supply-side platforms (SSPs).
These properties host low-quality, AI-produced content while using cloned ads.txt files to create a veneer of legitimacy.
“Bad actors are exploiting ads.txt and advertisers often have no idea it’s happening,” said Gilit Saporta, Head of the DV Fraud Lab. “It’s a growing risk that demands more scrutiny from buyers, sellers and vendors.”
DV’s investigation revealed near-identical ads.txt files across the Synthetic Echo sites, underscoring how fraud operations scale by replicating authorised seller lists.
Following DV’s exposure of the network in January, several misrepresented publishers indicated their intent to take legal action, as reported by Wired.
The full public alert and recommended best practices are available through DoubleVerify’s website.
By Ebony Coatsworth, Social Media Executive at Melbourne Social Co.
“Be kind to one another.”
It sounded wholesome – harmless, even. But for Ellen DeGeneres, it was more than a sign-off. It was her brand. She didn’t just promote kindness; she personified it. Or so we thought.
When reports of a toxic workplace culture emerged behind the scenes of The Ellen DeGeneres Show, the disconnect between her on-air persona and the real-life accounts was too big to ignore. The result? Her show was cancelled, and her public image took a serious hit.
That was 2021. But fast forward a few years, and we’re still seeing public takedowns of influencers and celebrities whose brands were built on a singular trait – one that, when called into question, causes the whole thing to unravel.
Ellen DeGeneres
In the last five years, Anna Paul has become one of Australia’s most successful creators. One of the country’s top OnlyFans earners and a social media darling, she’s shut down city centres with fan meetups, launched her own skincare line, and amassed a loyal following. Her rise has been meteoric, and in a country plagued by Tall Poppy Syndrome, that’s no small feat.
But if there’s one thing Australians love more than cutting tall poppies down, it’s rallying around the underdog.
Anna’s origin story, growing up poor, nearly homeless, and wrapping empty orange juice bottles under the Christmas tree because her parents couldn’t afford presents, made her relatable. She wasn’t just successful; she was deserving of it.
The only problem? That story might not be true.
When fellow creator (and her brother’s ex-girlfriend) Mikaela Testa called Anna out on TikTok earlier this year, alleging that her underdog story was fabricated, the fallout was swift. The video went viral. Anna lost over a million followers. Brands pulled back. And the trolling hasn’t stopped since.
View this post on Instagram
Brooke Bellamy, aka Brooki, grew a two-million-strong following off the back of a beautifully simple story: a self-taught baker from Tassie, who grew up baking with her mum and turned that passion into a best-selling cookbook.
But in April this year, one of Australia’s most trusted food bloggers, Nagi from RecipeTin Eats, accused Brooki and Penguin Random House of plagiarising recipes for her cookbook Cook with Brooki. The internet erupted. Comment sections got nasty. And it reached a point where Nagi had to publicly ask her followers to stop sending death threats.
Brooki’s Bakehouse founder Brooke Bellamy
When a creator anchors their entire persona to a single attribute, kindness, struggle, authenticity, and that attribute is later questioned or disproven, everything else starts to feel like a lie. The quality that built their audience becomes the thing that fuels the backlash.
We’ve seen it happen with Ellen. With Anna. With Brooki.
It’s worth asking: would these public floggings be as brutal if the people at the centre of them weren’t women? Probably not. Misogyny is alive and well online. But that doesn’t mean the fallout is totally undeserved, either.
These aren’t random misunderstandings. These stories were carefully crafted and consistently reinforced through every episode, TikTok and recipe post. That kind of intentional brand-building brings rewards, but also risk.
Social media rewards clarity. The simpler your story, the easier it is to follow. But while “the girl who made it from nothing” might be a compelling narrative, it’s also a fragile one. Especially if it isn’t grounded in truth.
Influencers and creators need to be careful not to box themselves into a persona they can’t uphold. Because in the age of parasocial relationships, followers don’t just watch, they believe. And when that belief is broken, the consequences can be brutal. Not just in unfollows, but in public reputation, brand deals, and mental health.
So if you’re building a personal brand, ask yourself this: is the story you’re telling one you can stand by when the comments turn? Or is it one viral video away from becoming your downfall?
This week’s Meeting of the Minds sees Gabby Mansour and Daniel Kearney from Captify reveal their leadership heroes, current streaming binge, and career goals.
The Mediaweek series showcases diverse perspectives, thoughts and opinions by bringing together two different points of view from an industry rookie and an experienced expert.
Favourite podcast/read – Jay Shetty’s “On Purpose” podcast has been a valuable resource for my personal growth and understanding of mental health. Through insightful conversations with guests like Selena Gomez, I’ve gained actionable advice on building better habits, reaching my full potential, and shifting my perspective to achieve better outcomes.
Current streaming binge – I love a good medical show. If it wasn’t for my squeamish stomach, I’d probably be a surgeon. I just finished Grey’s Anatomy and am streaming The Resident at the moment. The drama and medical mysteries keep me hooked!
Guilty pleasure content – Donkey videos on TikTok, they’re just such strange animals and so unpredictable. They could even be my spirit animal haha.
What do you have on repeat – Iris Goo Goo dolls – it’s such an iconic song with a really emotional back story. I feel like I’m in a music video every time I listen to it.
Best career advice – When you stop learning, you stop growing. An eagerness to learn will always benefit you in the long run. Don’t be afraid to be the one who asks challenging questions and debates different viewpoints – be the most inquisitive person in the room.
Leadership hero – Melanie Perkins is a tenacious Australian entrepreneur and co-founder of Canva who speaks powerfully about “rejection perseverance”—how short-term setbacks, when met with persistence, can lead to long-term success. This really resonates with me as someone working in sales, where pitching to clients is a regular part of the job and not every opportunity results in a win. Yet, pushing through those losses has helped me build stronger longer term client relationships. That same mindset stems from my competitive sporting background, where not every race or training session went to plan, but consistent effort over time led to real progress. Whether in sports or sales, resilience and belief in your vision are key to achieving meaningful success.
Best training course/session – The MFA Digital Foundations course. In my early days in media, this was fundamental in giving me a better understanding of the industry. A lot of learnings in this course were directly applicable to my work as a Client Service Executive at News Corp. Honestly, I found it way more useful than my university degree. My keen interest in digital media, particularly programmatic, started when this course delved into the programmatic ecosystem.
I wish someone had told me – This industry offers a vast array of opportunities; find a role that aligns with your work ethic, skillset, and desired growth, rather than changing yourself to fit a role that doesn’t fulfil you.
Favourite place to network – Agency events are perfect for networking and getting to know people on a personal level. For example, our run club with EssenceMediacom gives me a chance to chat to clients through a shared love of running. It’s always good to learn about people’s interests and hobbies outside of work, which can spark some fun conversations (especially about sports). And let’s be real, as a Parramatta Eels fan, I know that shared sports interests can be a make-or-break factor when building relationships!
Something that’s surprised you about the industry – The speed at which streaming has become more and more fragmented with so many new players in the market, Max, Paramount +, Prime Video, Netflix etc.
What is your hot take on the industry – How can we better understand the tangible benefits that brands receive from consumers who notice, interact with, or click on their ads? Going beyond meeting media KPI benchmarks (CPA, CTR, VCR) to understand how different media channels work together to achieve brand KPIs across the funnel (not just conversion) is a huge opportunity and a better success metric for brands.
Career goal for 2025 – Ensure that this test successfully meets its objectives while also providing insights for learning and improvement on future iterations. For example, extending onsite search data into environments outside of the online web….
Favourite podcast/read – My all-time favourite author is Yuval Noah Harari. I love his predictions for the future based on humanity’s history. His last book, Nexus, was especially interesting to understand what implications AI might have in store for us based on how we have interacted with information technology in the past.
Current streaming binge – The Big Lez Show, a low budget cartoon made by a bloke in Queensland which is both absurd and low brow while also being very deep. While juvenile, there’s also something very profound about the show, as well as being very Australian.
Guilty pleasure content – Does music count? If so, I’m only slightly embarrassed to admit that Chappelle Roan is killing it at the moment.
What do you have on repeat – Most consistently, I’d say it’s the album “Lost In The Dream” by the band The War on Drugs. It’s one of those albums that is fantastic from start to finish, and I’ve given it a serious thrashing since its release more than a decade ago.
Best career advice – Little to no growth happens in your comfort zone, but amazing things await on the other side of that discomfort. I’ve been very lucky to have a lot of great leaders and role models who have pushed me here as well as taught me this through their own behaviours.
Leadership hero – Barack Obama. As a novice public speaker, I’ve always admired the way he conducts himself as an orator. He’s especially great at slowing down and using pauses to make a point. As someone who tends to speak as fast as he thinks, he is a fantastic role model for me.
Best training course/session – Learning DISC (dominance, influence, steadiness, conscientiousness) behavioural profiling throughout my career has given me very useful tips for understanding other people’s motivations and pain points, or even just simple tips for collaborative working.
I wish someone had told me – That your mistakes early in your career end up being some of the lessons you treasure the most. In my first year working in media in Melbourne, more than a decade ago, I struggled with a presentation to the wider NGen audience that stuck with me for a few years. Fast forward seven years, later I was a keynote speaker for NGen and received a 98th percentile score. It felt like a full-circle moment in learning from your mistakes.
Favourite place to network – Over the years, the most consistent place to network has been the pub, and probably the College Lawn Hotel in Prahran if I had to choose one. Outside of that, I’ve been very lucky to network all over the world, from New York Adweek to the Cannes Lions Festival. Networking is much like some of the work we do with our clients; if you look after your brand, it will look after you for your whole career.
Something that’s surprised you about the industry – When I first joined the industry back in New Zealand 15 years ago, I first thought that the media lunch was a relic from before my time, some kind of indulgence. But I’ve probably had more deals get done over a media lunch than I care to admit.
What is your hot take on the industry – Late-stage capitalism and the consolidation of media are hurting the industry and allowing more and more anticompetitive behaviour to go on behind closed doors. Which not only hurts the rest of the industry, but all consumers of media in general.
Career goal for 2025 – Become a pro in developing technology such as generative AI and other emerging tools. I love how our industry often sits on the bleeding edge of tech, and I’m very eager to see where it goes.
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Past editions of Meeting of the Minds.
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Top image: Gabby Mansour and Daniel Kearney
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