Sky News Australia has apologised and launched a review of its new Sunday night program Freya Fires Up after a UK-based guest, Ryan Williams, made a string of Islamophobic remarks while appearing on-air with raw bacon draped across his shirt.

Williams was introduced by host Freya Leach as a “social media sensation” and “conservative political strategist.”

During the live broadcast, he claimed he wore bacon “to protect him” from terrorists.

As Calum Jaspan details in The Sydney Morning Herald, he went on to suggest Britain faces daily threats of Islamic invasion and wrongly asserted Birmingham has a Muslim majority. According to the 2021 census, 34 per cent of Birmingham residents identify as Christian and 29.9 per cent as Muslim.

At one point, Leach interjected: “It’s important to preface that the majority of Muslims don’t support that. We have seen here in Australia at least we’ve got some great moderate Muslims, but I think it’s up to them to condemn the elements of the culture or religion that are more extreme.”

Leach later made a brief on-air apology before cutting to another guest, conservative strategist Joey Mannarino.

Soon after, Sky cut Williams from the segment and later confirmed that his appearance would not be republished on its platforms.

Williams, however, has republished the video on his Instagram page, where it quickly attracted more than 90,000 likes.

In a statement, a Sky News Australia spokesperson said: “The program took immediate action during the live broadcast to cut off the guest. The content was not republished on any of our platforms. We recognise the harm such rhetoric can cause and take full responsibility for this failure in our editorial processes.”

The network also confirmed it has begun a review of Freya Fires Up, including guest booking and vetting processes, to prevent similar incidents in future.

Mediaweek has reached out to Sky News Australia for comment.

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Paramount Australia’s Tamar Hovagimian has been steering some of the country’s most ambitious TV partnerships for nearly two decades.

As head of the commercial partnerships division at Network 10, she’s behind integrations that have become industry benchmarks – think MasterChef Australia’s long-running tie-up with Coles, or I’m A Celebrity…Get Me Out Of Here!’s endlessly flexible brand opportunities.

Hovagimian, who has led the partnerships team since 2018, says while the principles of sponsorship haven’t changed, the scale of impact has. “Innovation, platforms and creativity have transformed what partnerships look like today,” she explains.

She points to the rise of “multi-touchpoint ecosystems” as a key shift. “Brands now recognise the value of multi-touchpoint partnerships that engage audiences well beyond the broadcast.

“MasterChef Australia, Australian Survivor, and I’m A Celebrity… Get Me Out Of Here! are great examples of formats where fan engagement and opportunities continue well beyond the show.”

That approach has led to activations stretching from shoppable ads on CTV to pop-up dining experiences.

“Even after 17 years on air, MasterChef Australia continues to deliver innovation and ground-breaking campaigns that only get better,” she says, citing Coles’ extension of in-show dishes into retail shelves and a 360 campaign with LG.

Balancing authenticity with commercial priorities

The word “authenticity” often comes up in conversations about integration – but for Hovagimian, it isn’t just a buzzword. “Collaboration and trust are key,” she says.

“The producers want what’s best for the show and its audience, the brand wants what’s best for their image and customers, and my team’s role is to find that sweet spot for everyone – on brief and on brand.”

She points to I’m A Celebrity… Get Me Out Of Here! as the clearest example of that philosophy. “It’s a format that is only limited by our imagination,” she says.

Convincing brands to take risks

Innovation, however, doesn’t always come easy. Brands are often cautious about unproven models, and that’s where Hovagimian sees her team’s role as part-creative, part-strategic.

“We back creativity with research, strategy, and results. We will never recommend an idea that isn’t right for a brand or that we don’t believe will deliver,” she explains.

Over time, this has built trust with clients and agencies, giving them confidence to lean into new formats.

The five-year Science of Sponsorship study has also armed the team with evidence. Hovagimian highlights one finding: “We made a TVC and commercial assets for a fake chocolate bar called CHUNK, put it alongside the real brands in our study and saw that a program sponsorship can turbocharge awareness for new brands by over 200%.”

Looking ahead

With Big Brother returning to screens, she sees another chance to push boundaries.

“We are amplifying across streaming and social in a way that has never been done before, presenting a really strong opportunity for sponsors,” Hovagimian says.

Despite nearly 20 years at Paramount, her enthusiasm hasn’t waned. “Honestly, every partnership is different which means every day is different, so it certainly hasn’t been a long 19-year tenure, it’s gone so fast,” she reflects.

“The fact that partnerships keep evolving and we keep raising the bar year after year makes it genuinely exciting and keeps us motivated.,” she said.

And her advice to brands stepping into integration for the first time? “There is a reason why brands return to integrated sponsorships, year after year. TV sponsorships work – we have the research and results to back it up.”

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This year’s Mediaweek 100 and Media Agency 50 have attracted record interest, and with only days left to enter, we’re ready to spotlight the incredible talent in Australia’s media industry.

Entries close at midnight on Wednesday, 1 October, 2025 – and we’ll countdown the lists on Friday, 24 October, 2025 at 12pm at Crown Sydney.

The Mediaweek 100 recognises the most influential people across the sector and for the first time ever we’re introducing a bold new format.

New format

For the first time ever, there are five themed lists within the 100, each spotlighting 20 influential leaders.

Power 20
The industry’s most influential leaders. Their bold strategies and transformative deals set the pace, tone, and standard for the sector.

Growth 20
Spotlighting the trailblazers driving expansion and fresh opportunities across Australian media. Their innovation, strategy and momentum set the benchmark.

Innovation 20
Celebrating the innovators who have driven bold ideas, new technologies, and boundary-pushing strategies to transform their business or the wider industry.

Influence 20
Honouring the voices and visionaries who shape industry thinking and public conversation. Their leadership sets trends, guides strategy, and defines the narrative.

Impact 20
Recognising the change makers whose decisions drive measurable results and lasting industry shifts. Their actions and achievements leave a powerful mark on audiences and brands.

Recognition on the Mediaweek 100 cements your influence, builds credibility and puts you alongside the most respected names in the business.

Submit your entry today – it’s totally free – and be part of the definitive list of people driving Australian media forward.

ENTER HERE

Media Agency 50

The Media Agency 50 highlights the agencies and leaders delivering standout work and measurable results.

This year the Media Agency 50 is also going an exciting evolution, with new criteria based on merit, ingenuity and impact.

Guided by a new advisory panel, the updated criteria ensure leaders from both major holding groups and independent agencies are recognised for their creativity, innovation, and measurable impact.

Submissions are encouraged for all categories, offering valuable insight into an individual’s achievements to support the editorial team’s review.

ENTER HERE

You can find out more details here.

KEY DATES

Mediaweek 100
Submissions close: Wednesday, 1 October, 2025 (11.59pm AEST)

Media Agency 50
Submissions close: Wednesday, 1 October, 2025 (11.59pm AEST)

Event Date: Friday, 24 October 2025 at 12pm
Location: Pearl Ballroom, Crown Sydney

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For all event enquiries, including questions around criteria, submissions and tickets, contact Sarah Chapman, Head of Editorial Operations, on [email protected]

Located within Disney Studios in Sydney’s Moore Park is a dream factory. No, it’s not the one you’re thinking of. This is Rizer, a local business charged with bringing to life large-scale marketing and promotional events.

In recent years you may have had the experience of attending an event staged by Rizer – it celebrated the Qantas 100 with an event inside an airline hanger where Kylie Minogue took to the stage to sing ‘I Still Call Australia Home,’ it opened and closed the FIFA Women’s World Cup 2023 Australia and New Zealand, and in recent months you may have attended it’s eye-popping HBO Max Australian launch event at Sydney’s State Theatre.

Last month the company lit up Cockatoo Island with a five metre-tall raven-shaped pyre set on fire as the centrepiece of the Wednesday Island event it designed for global streamer Netflix to promote the series return of hit show Wednesday.

It was an incredible showcase to demonstrate what this company was capable of.

Rizer’s Founding Director Barry Wafer told Mediaweek that the event set a new standard for what is possible in regards to launch events like this. But to stage an inspired event, it all comes down to the brief: “We believe in the tighter the brief, the more we get to dream.

“We believe in parameters. We need parameters. Budget is actually crucial and guidelines… we need to be given parameters. Sometimes if it’s too open, you need something to hang your hat on… need something to lean into. So it’s really important to know certain KPIs or certain goals or outcomes that a client needs.”

Rizer was one of around five agencies bidding on the opportunity to manage the event. The company was told by Netflix that the destination would be in Sydney and that it’d be an event that would serve as the last stop on a world tour with talent from Wednesday. Beyond that, the business was told to dream big.

“When we heard the brief originally, it was immediate: We wanted to create Wednesday Island because Cockatoo Island has been used a few times over the years… it’s been used for the Biennale and different things, but it hasn’t been used for a hard hitting brand moment. So we were excited about that opportunity and… just even the history of that place. There was a girls’ school that had… some bad… there’s some ghosts that are still around from that time,” Wafer said.

In terms of how long it took Wafer and the team to stage Wednesday Island, a project of that size typically takes them between six and nine months.

“You would have seen there was some large production elements like the pyre, which is the burden of scale.

“There was major set pieces and things.They don’t happen quickly. And it’s not just about how we build them or design them, but also about the compliance around doing things like that: the amount of flame and fire we had throughout that. And then securing a venue… doing detailed feasibilities on it,” Wafer said.

The approach to the work done by Wafer and his team, which includes around 40 staffers working across offices in Sydney, Brisbane and Singapore, has changed as their skills have developed alongside a radically changed media environment where events live on through social media channels.

“Typically for twenty years we’ve been working with on red carpets and premieres, and it’s really very much about the red carpet, the talent. But what we have started to have increasingly more need to in the last few years is bringing the producers and the art departments directly out of the film studios to help us realise our events,” Wafer explained.

“We partnered with Special PR and we did that launch of The Last of Us for HBO Max. For us, it’s all about using easter eggs from whatever series, whatever film, I’m actually working on another one at the moment as well, easter eggs and little tricks and little things that only the fans or people really into it will get, and to pop them into the experience and then see them realising it’s pretty special.

“I think you would have seen [for the Wednesday Island event] we had about 100 or 120 characters in total of talent on the island. Each one of those was given a very specific character to live within for the time on the island, and it was beautiful. It was really beautiful to see their interaction with the guests. I think everyone had an experience with one or two of them,” he said.

A thrill for Wafer was hearing directly from the creators of Wednesday, Al Gough and Miles Miller, about how impressed they were.

“The creators of Wednesday actually came on location earlier than their call time, specifically because they were enthralled by the creativity. They spent over two hours walking through every component. And at the end, we had a catch up and they said it was the first time they’d ever felt that they had actually stepped inside their show,” Wafer said.

“It was a very special feeling for us as a team to hear that. What we always try and do is transport people for a moment. We’re storytellers, right? That’s what we do.”

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Cummins&Partners has named Ben McCallum as its new CEO, less than six months after he joined the independent creative agency as general manager of media.

McCallum arrived at the agency in July from UM, where he was managing director. Before that, he held senior leadership roles at Mediacom, overseeing major client portfolios and building a reputation for leading teams through periods of growth and change.

The move signals the agency’s intent to sharpen its growth strategy.

In announcing the appointment, Cummins&Partners said McCallum’s elevation “marks the beginning of the next phase of the agency’s ambitious growth strategy.”

Reflecting on the new role, McCallum said: “I’m excited to lead the team at such a pivotal time, as we partner with some of the world’s biggest brands and continue expanding our offering across Australia.”

The agency currently counts McCain, Stellantis (Alfa Romeo, Chrysler, Dodge, Fiat, Jeep, Peugeot) and Snackbrands (Kettles, CC’s) among its blue-chip clients.

Agency founder Sean Cummins described McCallum’s appointment as an important step forward. “Ben’s leadership, client focus and deep industry experience will be instrumental in taking the agency to the next level,” he said.

For McCallum, the shift into the CEO chair caps more than a decade in senior media and creative leadership, with a track record in delivering award-winning work and driving commercial growth for global brands.

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Talk about being kind of a big deal.

PayPal Australia has gone mammoth for its latest push, enlisting Will Ferrell to front its largest consumer campaign on record.

The Hollywood comedian decided to venture out of his rich mahogany scented apartment to bring his trademark humour to spruik PayPal Pay in 4 – the no-interest, no-late-fee buy now, pay later service.

In the new ad, Ferrell hijacks an in-flight announcement system to tell passengers that they can “Pay in 4 with no interest and no late fees with PayPal”.

In between, he slips in his signature left-field humour, dishing out spelling tips and even bathroom etiquette pointers. It’s very much Ferrell in full Anchorman-mode – a true Afternoon Delight.

The campaign will debut in some of the year’s highest-rating spots, including the AFL and NRL Grand Finals, before rolling out across BVOD, Netflix, Amazon Prime, Binge and other streaming platforms.

Putting comedy to work

“This is the largest consumer campaign PayPal has ever run in Australia, and we’re thrilled it features iconic A-list actor, Will Ferrell, whose universal humour resonates across generations,” said Caitlin Hoey, head of consumer marketing at PayPal Australia.

“He brings unmistakable energy to the creative while shining a spotlight on the benefits of PayPal Pay in 4, a simple BNPL solution that millions of Australians can use with confidence.”

The campaign also unveils PayPal’s new brand identity, with a sharper logo and bold visual system. The media mix stretches across out-of-home, digital, audio, influencer and social – ensuring Ferrell’s antics reach Australians wherever they shop or scroll.

Behind the scenes

Developed with PayPal’s global agency network Publicis Groupe, the ad aligns with the global platform launched earlier this year. And while the tone is playful, the commercial message is clear: Pay in 4 means no hidden costs, and every transaction is backed by PayPal Buyer Protection.

For PayPal, landing Ferrell is both a branding coup and a strategic play to cut through a crowded BNPL market.

And for audiences, it’s a reminder that even when you’re paying bills…

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Meta is extending its AI-driven age detection technology to Australian users, placing teens suspected of misrepresenting their age into stricter “Teen Account” settings on Instagram.

The move, which mirrors a rollout in the US earlier this year, is designed to reduce unwanted contact and exposure to harmful content.

What the update means

From today, Australian teens flagged by the AI system will automatically be placed into Teen Account settings. These accounts come with built-in protections, including restrictions on who can contact them, limitations on going Live, and filters that hide unwanted images in DMs.

If the technology incorrectly flags someone, they’ll have the option to adjust their settings. Parents will also receive in-app prompts, encouraging them to talk to their teens about providing accurate ages online and offering guidance on how to confirm those details together.

Early results from the US rollout

Meta first introduced the system in the US in April. Since then, the company says over 90% of active teen accounts remain in protective settings designed to cut down exposure to unwanted content.

Mia Garlick, Meta’s regional policy director, said the technology aims to address one of the sector’s biggest challenges. “Understanding age online is a complex, industry-wide challenge, especially if people misrepresent how old they are. We’ve spent many years and invested heavily to refine our AI technology to identify in a privacy-preserving way whether someone is under or over 18.

“By expanding these measures to Teen Accounts in Australia, we’re helping ensure teens have safer, age-appropriate experiences on Instagram,” she said.

What’s next?

Garlick added that app stores should play a larger role in verifying users’ ages. “That said, we think there’s a better way to understand a teen’s age. We’d like to see App Stores, such as the Apple App Store or Google Play, give parents the ability to verify their teens’ age directly at the point of download, which could then send a signal to apps like Instagram regarding a person’s age range.”

For platforms, regulators and brands alike, the move is another sign of how the debate around online age verification and teen safety is becoming central to the industry’s future.

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Sydney’s Employees Only Bar swapped media plans for cocktail shakers last week as seven agency teams went head-to-head in the annual Blis Golden Shaker – with OMD ultimately walking away with the 2025 crown.

The inter-agency mixology contest, now in its tenth year, drew a packed house of industry peers eager to see which team could mix, shake and garnish their way to bragging rights.

For the first time, seven teams stepped up to compete: PHD, Metropolis, Thump, Spark Foundry, EssenceMediacom and two teams from OMD.

With each group bringing their own flair to the bartop, the evening was equal parts friendly rivalry and serious creativity.

Elias Psarologos, regional director ANZ at Blis, said the 2025 edition was the most inventive yet. “It’s great to see every year we do the Golden Shaker somehow top the previous years for creativity, competition and enthusiasm.

“The teams this year really took it up a notch with their cocktails, creating some amazing drinks to make it a tough decision for our judges to elect a winner. I’m already looking forward to what 2026 has in store and to see if OMD can defend their crown,” he said.

Winning touches

Among the standout entries was the winning cocktail, which came complete with handwritten notes tucked into fortune cookies perched on each glass.

For Zac Messih, head of marketing APAC at Blis, that level of polish shows how far the competition has come.

“Being able to grow this competition out each year is such a joy. We’ve now hit a record of seven teams competing due to an unprecedented number of teams submitting to compete this year.

“Being able to sit on the judging panel again this year, I can confidently say as the competition grows, so does the quality. This year’s winner inserted handwritten, personalised notes into fortune cookies sitting atop their cocktail, which was unbelievable attention to detail and presentation,” he said.

Launched in 2015, the Golden Shaker has become a staple networking event for media and marketing professionals – part competition, part industry social.

For Blis, it’s also a chance to bring agencies together in a less conventional setting, a natural extension for a company that positions itself as offering “radically different” approaches to data and advertising.

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Mamamia has appointed Lanai Wiadrowski to the newly created role of NSW sales director, as the publisher continues to expand its commercial presence in Sydney.

Reporting to Mamamia’s chief revenue officer Georgie Nichols, Wiadrowski will lead the NSW commercial team and build on the publisher’s recent growth by strengthening client and agency partnerships. She joins from oOh! Media, where she was NSW agency sales director.

Nichols said the new appointment was critical to supporting Mamamia’s momentum: “We’ve had an incredible year of growth, and to continue that momentum we needed a director to lead our NSW commercial team. It was critical to find a leader who shared our people-first mindset and who held strong and trusted relationships in market. Lanai stood out as the right candidate on every front.”

Wiadrowski said she was excited to join a publisher with a strong brand purpose: “What excites me most about this new role is the opportunity to deepen partnerships with our customers in new and meaningful ways. I look forward to working alongside such a talented team to help brands grow and stay relevant by tapping into Mamamia’s culture, community and connection, delivering real business impact.”

She will formally start on 29 September 2025.

Mamamia reaches over 7.5 million Australian women every month across its articles, podcasts, vodcasts, newsletters, social media platforms and live events, with a global reach of 73 million monthly across platforms.

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The Public Investment Fund (PIF) has finalised its acquisition of a 54 per cent stake in MBC Group, the Middle East and North Africa’s largest media company, for SAR 7.469 billion (US$1.992 billion).

MBC Group is headed up by former Nine CEO Mike Sneesby, who was appointed to the role in April of this year. The acquisition follows MBC Group reporting a 41% increase in net profits for the first half of 2025, reaching SAR 335.43 million (around $89.43 million).

The deal, announced on 22 September, saw PIF purchase 179.55 million shares at SAR 41.60 each through a private transaction with Istedamah Holding Company. The move aligns with PIF’s broader strategy to invest in sectors with high growth potential while advancing Saudi Arabia’s media and entertainment ecosystem.

As part of its Vision 2030 program, PIF has identified media and content production as priority industries for domestic development. The fund said the investment would help elevate the Saudi media industry through technology adoption and increased production of high-quality content across multiple platforms.

MBC Group’s regional footprint

Founded in 1991, MBC Group reaches an estimated 150 million viewers each week worldwide. Its operations include 13 free-to-air TV channels, three radio stations, Shahid, the region’s leading Arabic streaming platform, and MBC Studios, its production arm specialising in Middle Eastern stories for global audiences.

The company was listed on the Saudi Exchange (Tadawul) in January 2024, marking a new phase of growth and investment. Industry analysts note that the MENA media sector is expected to expand significantly, driven by rising demand for localised digital content and rapid technology adoption.

Strategic significance for PIF

PIF has been actively diversifying Saudi Arabia’s economy by investing across industries including sports, technology, and entertainment. Since 2017, it has established more than 100 companies. With this acquisition, the fund signals a strong push into media as it seeks to create a globally competitive ecosystem and attract international partners.

In a statement, PIF said: “This acquisition is part of our commitment to growing strategic domestic sectors. Media and entertainment remain central to our vision of strengthening Saudi Arabia’s content creation capabilities and supporting the industry’s transformation.”

The acquisition adds to Saudi Arabia’s positioning as a key player in regional entertainment, with MBC’s scale and reach providing a platform for growth both domestically and internationally.

Top image: Mike Sneesby, CEO of MBC Group

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Seven is bringing back The House of Wellness next week, with the health and lifestyle series adding new faces, fresh segments and a late-night energy designed to keep audiences entertained across broadcast and 7plus.

Mel Doyle and Shane Crawford return as anchors of the format, this time joined by dermatologist and GP Dr Ahmed Kazmi in his first appearance as the resident doctor.

Fan-favourite Yvie Jones also steps into a permanent role after guesting last season.

The line-up reflects a broader push to refresh the format while keeping its health-first positioning approachable and light. Doyle will lead a segment called Worldwide Wellness, pulling apart viral health fads with humour.

Crawford adds Crash Test Crawf, where he takes on offbeat challenges and elite athletes. Jones focuses on relatable, everyday wellness conversations, while Kazmi blends his medical background with comedy to deliver health advice.

Music, guests and format mix

Late-night viewers can also expect live performances from Jimmy Barnes, Dami Im and Ben Lee, alongside guest spots from names like Gold Logie winner Lynne McGranger and Pete Murray.

Seven says the aim is to create “a fun-filled, feelgood hour” that balances information and entertainment.

As the network positions the series across both linear and digital, the mix of music, talk and quirky wellness content aims to broaden its appeal beyond traditional health programming.

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The Hit Network’s Carrie & Tommy is heading out of the studio and onto the road this week, with Carrie Bickmore and Tommy Little broadcasting from a motorhome as part of Tourism and Events Queensland’s (TEQ) latest push to showcase the Pacific Coast Way.

From 22–25 September, the pair will host their national Drive show from four coastal locations – K’gari/Kingfisher Bay, Sixty6 Acres on the Sunshine Coast, Sandstone Point in Moreton Bay, and Tallebudgera Creek on the Gold Coast. Alongside the live broadcasts, listeners will hear destination stories that spotlight regions including the Whitsundays, Townsville, Mackay and Gladstone.

The activation is part of TEQ’s Wheely Good Adventure campaign, built in collaboration with dentsu Queensland and SCA’s in-house team, The Studio. A competition for listeners to win a $5,000 Queensland holiday rounds out the campaign.

A campaign built on storytelling

TEQ’s group executive marketing, Kim McConnie, said the idea was to use the presenters’ on-air chemistry to bring a Queensland road trip to life for a national audience.

By leveraging what she called “the much-loved Carrie & Tommy Drive show,” McConnie said the campaign can “share the energy, excitement and adventure of a Queensland road trip along Australia’s Holiday Highway” in a way that feels authentic and drives publicity for regional areas.

Integration across agencies

dentsu Queensland integrated partnerships lead Emilia Ball described the campaign as an example of “Team Queensland spirit in action.”

She said the agency wanted to build “a connected ecosystem for the marketing of tourism and events,” adding that the Carrie & Tommy integration was “a standout example, connecting our regions and operators and further elevating Australia’s Holiday Highway.”

For SCA, the project is about harnessing talent-led content to connect with audiences.

Trevor Crook, head of client services and partnerships, said Carrie and Tommy’s “adventurous nature and love of taking their Drive show on the road aligns seamlessly with TEQ’s love of capturing the adventure of Queensland’s Pacific Coast Way.”

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Gumtree Group has announced a partnership with Australian Community Media (ACM) that will connect their audiences and advertisers across digital, print, and marketplace platforms. The agreement brings together a combined monthly online audience of 7.1 million Australians, according to Ipsos iris data for May–July 2025.

The deal includes three key initiatives: exclusive CarsGuide automotive content across ACM’s mastheads, syndication of ACM’s AgTrader marketplace listings onto Gumtree, and new integrated advertising packages available across both companies’ networks.

“This partnership represents a major step forward in how media and marketplaces work together in Australia,” said Tommy Logtenberg, CEO, Gumtree Group. “By combining ACM’s trusted community platforms with the reach of CarsGuide, Gumtree and Autotrader, we are creating one of the country’s most comprehensive networks. Together, we can deliver unparalleled value to consumers through richer content and choice, while unlocking new growth opportunities for advertisers.”

A central part of the deal will see ACM mastheads feature CarsGuide reviews, comparisons and automotive news produced by its editorial team. ACM managing director Tony Kendall said this will be a significant boost for regional audiences: “CarsGuide’s independent, expert-led content is a highly valued resource with car buyers and fans in rural and regional areas.”

The partnership also creates new advertising opportunities. Jessica Hunter, Gumtree Group director of advertising, said: “By uniting two of Australia’s most trusted local platforms, we are building a unique data-led solution that will enable advertisers to activate our combined first-party data and achieve meaningful scale across both metro and regional areas.”

AgTrader listings will begin appearing on Gumtree in the coming weeks, while CarsGuide content will roll out across ACM’s outlets later this year. The deal takes effect immediately.

Top image: Tommy Logtenberg & Jessica Hunter

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Patrick Whitnall, Managing Director of the Australian Influencer Marketing Council (AiMCO), has announced the launch of the inaugural AiMCO Summit, a new national event for the creator and influencer industry.

Set to take place at Sydney’s NIDA Parade Theatre on Thursday 26 February 2026, the summit will bring together creators, agencies, brands and platforms for a day of learning, collaboration and industry insight. The AiMCO Awards will follow that evening.

The theme for the first summit is The Creator Era – Exploring Creators, Culture and Commerce, aiming to examine how creators are influencing culture, shaping communities and driving commercial growth.

The event will feature keynote speakers, panels, workshops, and case studies. AiMCO is now inviting content submissions from across the industry — including creators, marketers, academics, agencies, platforms and brands — for 20-minute sessions that are designed to provoke debate, share bold ideas and deliver clear takeaways.

Proposed sessions can take the form of keynotes, panels, workshops, fireside chats or case studies, and must align with one of three pillars:

• Creators: Covering career pathways, entrepreneurship, representation, ethics and sustainable partnerships.
• Culture: Exploring narrative formats, community dynamics, and the social and cultural impact of creator-led storytelling.
• Commerce: Addressing ROI, measurement, monetisation models, and scalable strategies in creator partnerships.

Whitnall said the summit responds to growing demand from members for a national platform that celebrates and advances the work being done in influencer marketing.

“This summit will be the most significant learning and development event for creators, brands, tech innovators and agencies in Australia,” he said.

“The inaugural event’s focus on the creator era is timely, given nearly a quarter of Australians aged 18 to 44 now identify as influencers, and the sector is projected to be worth more than $1.257 billion by 2028.”

According to AiMCO, data shows that nearly 46 per cent of Australians have purchased a product after seeing it promoted by an influencer.

“Creators are not just shaping the industry, they are leading it. They are building businesses, shaping industry, setting trends, and redefining influence. In turn, brands and platforms are reimagining their value and impact,” Whitnall added.

Content submissions are open until Thursday, 23 October. For submission guidelines and event details, visit the AiMCO Summit and Awards hub.

Top image: Taz & Alessia

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Two of Australia’s most recognisable true crime podcasts, Casefile True Crime and One Minute Remaining, have teamed up for the first time on Suing Diddy – a seven-part investigative series under the Casefile Presents banner.

The series, hosted by One Minute Remaining creator Jack Laurence, unpacks the extraordinary story of Derrick Lee Cardello Smith, a Michigan inmate who briefly duped the US legal system into awarding him $100 million after suing Sean ‘P. Diddy’ Combs.

Laurence tells Mediaweek he sat on the story for nearly a year, unsure how to handle it. He knew it needed a larger platform: “I had been holding onto this story for almost a year, mainly because I was not sure what to do with it, but this man simply needed to be stopped. He has been manipulating people for years and even managed, for a short time, to manipulate the US legal system.”

A unique story

True crime has no shortage of scams and celebrity scandals, but Laurence believes Suing Diddy stands apart. “There have been countless podcasts about con artists, criminals and even P. Diddy, but this one is different. It is about an incarcerated man who sued P. Diddy for $100 million and won, all based on a lie,” he explained.

That lie, he added, eventually collapsed in the simplest of ways – which is part of what makes the story so compelling.

Laurence’s background in commercial radio has shaped his approach. Fifteen years of cutting long interviews down into five-minute segments taught him the importance of editing tightly.

“You have to be able to kill your babies,” he recalled – advice from broadcaster Kate Langbroek that still guides his work. It’s an instinct he brings to transcripts, affidavits and court records: stripping out the noise, keeping only what helps the audience follow the case.

Collaboration over competition

For Laurence, the collaboration with Casefile reflects a culture of generosity in podcasting.

“‘Casey’ (the anonymous host) and his team are hugely successful on their own and have no obligation to champion other creators, yet they choose to,” he said.

“They use their platform not only to bring important stories to life but also to help other podcasters grow.” It’s an attitude he contrasts with his years in radio, where the default was “crush, kill, destroy.”

That support has helped One Minute Remaining grow rapidly since launching in 2022.

The show has now surpassed eight million downloads, with Laurence releasing more than 400 episodes telling the stories of 46 prisoners in the US, alongside three other podcasts that collectively reach listeners in 135 countries.

Playing the long game

Laurence describes podcasting as a medium that rewards patience. Some stories, like Suing Diddy, live in his files for months before he decides where and how to tell them.

“When something really grabs you, you hang onto it, even if you don’t yet know how or where it will live,” he said. “Unless you’re tied to a large organisation, you can take your time, craft your story, and make sure it’s as strong as it can be rather than just rushing something out to meet a deadline.”

Backing from Acast

All seven episodes of Suing Diddy are hosted, distributed and monetised by Acast.

Laurence says the company has been instrumental in supporting true crime creators and tackling brand hesitancy around the genre. “The Aus/NZ team live and breathe podcasting,” he said.

“Their sole focus is the industry which means that as podcasters we know we have a team and a sales team that understand the landscape and the product better than anyone.”

While some advertisers remain cautious, Laurence points to Acast’s success in bringing major clients into the genre.

“That stigma is something I still face, but Acast has been at the forefront of showing clients the benefits of advertising in a genre that consistently dominates audience numbers,” he said.

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