In Australia’s increasingly competitive streaming landscape, 7plus has carved out a unique position with its “bonfire and fireworks” strategy, a content mix designed to maximise both long-term engagement and high-impact premieres.

Andrew Green, director of content and strategy at 7plus, explains the philosophy behind this approach: “With the firework shows, hopefully, they burn big and bright. There are lots of ‘ooh and ahh’ moments – good or bad. People know about them, talk about them, and they make a big splash,” he says.

“Then you’ve got the bonfire shows, the ones that smoulder and burn – that are sustainable and returnable. You might watch them years ago and then come back and watch them again. So, like Bones, Sons of Anarchy, the Law & Orders, and CSIs – those types of programs. Lots of seasons are helpful, but they also have a returning value of audience to them. One makes a big splash, and the other just consistently provides audiences all the way through the year.”

This dual-content strategy is helping 7plus grow at a rapid pace, attracting both advertisers and viewers in an increasingly fragmented streaming market.

Suits: L.A. – a high-stakes acquisition

Among the “fireworks” set to make a major impact is the highly anticipated spin-off Suits: L.A.. The new series continues the legacy of Suits, a show that has seen resurgent popularity thanks to its availability on Netflix and Meghan Markle’s association with the original franchise.

Green notes that 7plus originally aired Suits back in its early days before the series moved to Foxtel, but the legal drama has gained an entirely new generation of fans in recent years.

Now, Suits: L.A. is coming to 7plus with a strategic global rollout.

“That was an absolute requirement – to go day and date with the US,” Green explains. “It airs on Sunday night in the States, and we’ll be airing it on Monday night, just a few hours later in Australia.”

The global conversation around television premieres has become a critical component of viewership and marketing strategies for streaming services. The buzz generated by a weekly rollout, as seen with HBO’s Succession and The White Lotus, fuels audience engagement over time – something 7plus is keen to replicate.

“Being part of a global conversation is certainly going to help it,” Green says. “There will be a lot of buzz, especially social buzz, about this series – like what you have in the States with HBO shows. White Lotus and Succession had that traditional weekly rollout, and we’re bringing that same strategy with Suits.”

Weekly releases, rather than binge drops, are proving to be a smarter strategy for long-term viewer retention.

“Apple TV+ has gone back to weekly, you see it on Disney+ a fair bit as well,” Green explains. “Netflix has chosen certain shows to have weekly drops. I’ve seen research that suggests having a weekly drop actually increases the audience overall by about 20% rather than dropping everything at once. It creates appointment viewing and keeps people coming back regularly.”

Strong performance from 7plus exclusives

While “fireworks” like Suits: L.A. drive immediate engagement, 7plus continues to expand its exclusive content lineup. The platform has seen impressive results with true crime and investigative series, which have consistently attracted high audiences.

“We had Mr Bates vs The Post Office about a year ago, and it was incredible,” Green says. “The success of that really helped us understand what we can achieve in the exclusive space on 7plus.”

More recently, the docuseries Murder in a Small Town has been a standout, averaging 250,000 viewers per episode.

“That series performed very well for us,” Green says. “It reinforced that audiences are eager for high-end, exclusive dramas on 7plus. That’s been the missing piece for us – we’ve always had such a strong ‘bonfire’ library, but we needed those big ‘fireworks’ moments as well.”

Audience growth and sports streaming boom

7plus is growing rapidly, with 600,000 new users downloading the platform in the past year alone.

“We know who they are, all verified. And 40% of them went on to stream the cricket,” Green says. “What’s really interesting is that 70% of them were under 55, so we’re seeing a strong increase in younger audiences.”

Sports remain a critical driver for advertisers and audience engagement. 7plus saw significant growth during its cricket coverage, and similar results are expected as the AFL season kicks off.

“The AFL season is just a couple of weeks away so it’s a very exciting time,” Green says. “We expect similar results to what we saw with cricket.”

Importantly, 7plus is not cannibalising traditional broadcast audiences – it’s adding incremental reach.

“With cricket, broadcast audiences grew year on year,” Green notes. “It wasn’t about splitting viewers between broadcast and streaming. Instead, the total audience was up across both. Broadcast remained steady or even grew, and 7plus added an entirely new audience on top. We’re expecting the same thing with AFL – steady or growing on broadcast, and everything on 7plus is the cream.”

A growing powerhouse in Australian streaming

7plus is leveraging a unique mix of evergreen content, exclusive acquisitions, and live sports to maintain its position as Australia’s fastest-growing free streaming service.

With a 43% share of the BVOD (Broadcaster Video on Demand) market and a 29% year-on-year increase in viewership, the platform is attracting new audiences and advertisers alike.

“40% of viewers come to 7plus only to watch the non-broadcasting content,” Green says. “They’re coming in specifically for these bonfires and fireworks that we’ve added to the platform. That’s a very consistent number – it shows that we’re delivering a streaming experience that goes beyond just catch-up TV.”

Pictured: Suits L.A.

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The end of The Night Shift with Luke Bona came as a shock to the team behind it.

“Because we both sleep during the day, we both woke up to the news,” Triple M Sydney radio producer Tom Denham told Mediaweek. Southern Cross Australia’s (SCA) decision to axe the program marked the end of an era for the late-night radio show, which had built a loyal audience across Australia.

The decision was part of a round of redundancies announced by CEO John Kelly last week. Kelly sent staff an email on Thursday afternoon, informing them of further cost-cutting measures, including redundancies, as the media company continues to navigate challenging economic conditions.

Denham and Bona had a choice in how they handled the abrupt end. “We saw the writing on the wall,” he says. “We both intuitively thought – we could do this two ways. The right way was to go out admirably. The fact that they gave us that final show? What a gift. Not everyone gets that.”

For Bona, that final broadcast was invaluable. “For him to have that experience meant the world to him – to say goodbye to his listeners and contributors,” Denham says. “I think that will give him a lot of peace of mind.”

The power of overnight radio

While breakfast and drive radio dominate the ratings conversation, overnight radio has a unique role in the audio landscape – one that goes beyond just entertainment.

“Night shift listeners are so reliant on you,”  Denham explains. “It’s about fatigue management – these are people working long shifts, sometimes on their own, in nursing homes, trucks, or security guard premises. Being able to speak to those callers every night, getting a glimpse into their world – that’s what makes this kind of radio special.”

With The Night Shift now off the air, Denham wonders what happens next for its audience. “I do wonder where they’ll go – if they’ve just decided to turn off.”

For many, The Night Shift was more than just a radio show – it was a “lifeline”. “At that time of night, you need a good broadcaster, and Luke is such a good broadcaster,” Denham says.

What next?

Denham’s own future in radio remains undecided. “I’ve been given a few options,” he says. “I’m having some conversations with some really good people who care about what’s next.”

For now, he’s reflecting on what he describes as an incredible run. “We were just lucky to do this wonderful radio experiment for as long as we did. What an adventure we had.”

Pictured: The team behind Triple M’s The Night Shift

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In an industry marked by rapid consolidation and bold moves – most recently seen in the billionaire-backed British sports network DAZN’s acquisition of Foxtel – Stan Sport has charted a different course. Focused on internal excellence and robust partner relationships, the streaming sports platform has steadily carved out a distinctive space in Australia’s competitive sports media market.

A differentiated proposition

Ben Kimber, director of Stan Sport, sums up the company’s ethos: “Stan sports is now four years old, and I think we’ve shown in that four years that we are very carefully building a good business. I mean, it’s not so much about the outside forces around our business, but instead what we do on the inside that counts.”

This approach – prioritising the quality of internal operations over reacting to market turbulence- has allowed Stan Sport to maintain a steady growth trajectory. Kimber further emphasises that the secret to their success lies in forging strong, mutually beneficial partnerships.

“We’ve got fantastic partners, and we offer them an experience for both their fans and their business, no one else can,” he said. “So we absolutely lean into our partners, and we do the best with them, and the market will keep moving, and we’ve shown that we can move with the market.”

What 2025 has in store

Looking ahead, Kimber remains far from complacent. This year will see the platform expand by offering with a deeper dive into live sports and premium entertainment content. “We’ve been the home of rugby now for four years into our fifth year, and that is an absolute jewel in the crown for rugby fans. The tour is phenomenal. It touches every single city in Australia. It goes on for, you know, a good six weeks. So it’s gonna be, it’s gonna be enormous,” he said.

The power of integrated entertainment and advertising

Stan Sport’s unique positioning is further bolstered by its commitment to delivering a well-rounded entertainment experience. “That’s a nice point of difference in the market that we keep it all together,” Kimber said.

“We have some absolutely fantastic entertainment products based around sport, like the Craig Bellamy documentary and the upcoming Russell Crowe film The Beast In Me. We focus on making sure that our sports fans get a great entertainment experience as well. So tying those two things together, we think, is quite powerful.”

This integrated approach creates natural opportunities for advertisers. Unlike traditional sports programming, which is interspersed with ad breaks, Stan Sport leverages its content-driven strategy to offer advertisers a platform where brand messages are seamlessly interwoven with high-quality, engaging content. As Kimber explains: “It’s a bit of a natural progression for sport. Sport is very different entertainment in that a lot of the sport is built with ad breaks in it so there’s actually space in there for ads that we currently fill with other content.”

Strengthening ties with Nine

A cornerstone of Stan Sport’s evolving strategy is its strategic partnership with Nine Entertainment. In an era when major industry players are aligning to offer combined advertising and content solutions, the collaboration with Nine is seen as a significant competitive advantage. “It’s an absolute partnership with nine. We’re a part of the same business. It’s actually an absolute strength,” states Kimber.

According to Kimber, this partnership not only expands Stan Sport’s reach but also reinforces a unified approach to content distribution and ad sales, providing a robust framework for both current and future advertising opportunities.

DAZN and Foxtel

While the broader industry navigates disruptive deals and market realignments – such as the DAZN-Foxtel transaction – Stan Sport’s emphasis on internal development and strategic alliances has allowed it to thrive. By focusing on building high-quality content, deep-rooted partnerships, and innovative advertising solutions, Stan Sport is setting new standards in sports entertainment.

As the platform continues to expand its footprint, trade and advertising professionals will undoubtedly keep a close eye on Stan Sport’s evolution – a testament to how careful, internally focused growth can succeed even amid industry upheaval.

Pictured: Wallabies superstar Joseph-Aukuso Suaalii in the 2025 Lions Tour jersey

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If there’s one thing Erin Molan knows how to do it’s push the boundaries.

From hosting a breakfast show on 2Day FM to taking the reins of her eponymous program on Sky News Australia and now hosting her own YouTube channel – Molan is always adapting to the shifting media landscape

The veteran broadcaster is now boldly stepping into uncharted territory with her new venture, 69 X Minutes. The project, inspired by a tweet from Elon Musk, represents a fresh, fearless approach to storytelling and content creation that’s already captured the attention of audiences around the world.

The show was announced by both Molan and Mario Nawfal via sizzle reels on their social media accounts. Nawful is no stranger to utilising the platform for program creation. His, The Roundtable Show, is currently the largest show on X, and has played host to a range of guests including Hunter Biden and Musk. Nawfal is also the CEO of International Blockchain Consulting (IBC).

Its ethos, according to the post, will aim to present the news in a way that is “unfiltered, unbiased and raw”.

It all started with a tweet

In an exclusive interview with Mediaweek, Molan said the wheels in her head began turning after encountering Musk’s tweet about a new show concept. “When I saw Elon’s post about the show I took a screenshot and then sent it to so many friends of mine saying, ‘oh my gosh this would be amazing – can you imagine?’ she recalls.

The tweet from Musk in question saw the businessman call out for a departure from traditional media practices:

That spontaneous spark led her to explore the gradually expanding and innovative format that not only challenges traditional media structures but also invites a diverse range of voices and points of views.

“The whole point of X is to provide a platform for so many different voices – I fully expect the show to feature guests whose opinions I won’t agree with – which is brilliant. Echo chambers are dangerous and boring!” Molan asserts, highlighting the show’s commitment to robust and balanced dialogue.

Molan’s connection with the show comes following her departure from Sky News Australia, something she tells Mediaweek, has allowed her the freedom to experiment.

“I’m not just zoning in on one thing right now at all because I’m loving doing my own channels. I’m loving doing my YouTube channel. I’m having so much fun with experimenting with different things,” she explains.  “And even this show – I haven’t locked myself into anything – whilst I enjoy it and it works – I’ll do it!”

This unbridled creativity has already translated into impressive numbers, with 29 million views in just a month and a half – a clear signal to advertisers and trade professionals that audiences are eager for innovative, boundary-pushing content.

A perfect balance

For Molan, the venture is not just about shaking up the status quo in media – it’s also about preserving a lifestyle that brings her joy. “I haven’t locked in anything in long term, but I’m so grateful for so many incredible opportunities,” she said..

“I’ve fallen deeply in love with the freedom to still work non stop… but the ability to be present with Eliza (Molan’s daughter) most of the time is heaven. I walk her to school, I pick her up,” she shares. For Molan, it’s this balance of being able to pursue her professional dreams while sharing time with her family that has proven the biggest game changer.

Perhaps most striking in this new chapter is Molan’s refreshing take on risk and failure. “I’m not afraid of failing anymore,” she said. “If I’m not failing – even in a small way – multiple times a day in all the new things I’m trying then I’m not trying big enough things… the fear used to be crippling. I’ve now shifted my perspective entirely on it and it’s been life changing.”

A new era in news

The show’s launch comes at a time as traditional media outlets scramble to adapt to changing viewer habits and expectations.

In Australia, the changes at ABC News has proven one of the most notable examples of trying to toggle the fast-moving and somewhat chaotic landscape. In recent years, Aunty has revamped its digital strategy by launching an integrated online platform that offers live streaming, real-time updates, and on-demand content.

In the commercial space, both Seven and Nine have done the same – shifting away from relying solely on the traditional TV formats and heritage shows – such as the flagship daily 6pm news offering. Instead, both networks have embraced social media channels, interactive online content, and live digital broadcasts to capture viewers who prefer consuming news on the go.

Pictured: Erin Molan

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Are Media has announced a new editorial lead for Woman’s Day, appointing an experienced media professional, Katherine Chatfield, to drive the brand’s content strategy, audience growth, and digital expansion.

Taking the helm of Australia’s highest-selling weekly lifestyle brand, the new editor will oversee its evolution into a fully omnichannel powerhouse, strengthening its position as a trusted source for lifestyle content, celebrity news, and real-life stories.

With an extensive background spanning digital and print, the editor has worked across major media companies, including News Corp, ACP Magazines, Fairfax, Pacific Magazines, and Verizon. Beyond publishing, they have also contributed to content creation and copywriting for major Australian and UK brands such as Myer Marketplace, Selleys, Berocca, The Good Guys, and Australian Unity.

The vision for Woman’s Day includes an increased focus on digital storytelling, real-time engagement, and social-first strategies. The editor is set to push the boundaries of exclusive digital content, video storytelling, and seamless brand integration.

“One thing our stories all have in common is that they have heart, and that is what truly connects with millions of women every week across digital, social, EDM, and print,” they said. “We’re entering a new era, bigger, bolder, and more connected than ever before.”

Are Media’s general manager, entertainment, Susan Armstrong, welcomed the appointment, stating: “As we look to the future, Woman’s Day is poised to reach new omnichannel heights, building on its rich heritage while evolving into an even more dynamic, digitally led powerhouse.”

Prior to the announcement, Are Media CEO Jane Huxley spoke to Mediaweek about the company’s broader strategy for 2025, emphasising its deep connection with Australian women and the strength of its trusted brands.

“Our focus is on the quality of our content, which we deeply treasure,” Huxley said.

She highlighted that Are Media’s brands are its most valuable assets, guided by a “thoughtful and mindful” approach in engaging clients and partners.

“No one creates the breadth of content for Australian women that we do—whether in a magazine, on a website, through social posts, EDMs, or even books,” she said. “We hold a unique place in the market, and that’s something we truly value.”

With a commitment to audience-first storytelling across all platforms, Woman’s Day is set to further cement its place as a must-read brand in the Australian media landscape.

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GroupM Australia & New Zealand have welcomed the appointments of Veronica Li, Ben Grace, and Claudia Domingues to its commerce team to drive transformation for clients across Wavemaker, EssenceMediacom, and Mindshare.

Li, Grace and Domingues joined after the holding group developed a robust Commerce offering encompassing Strategy, Activation, Creative, and Data & Technology. The offering leverages proprietary tools, partnerships, and processes to deliver GroupM agencies impactful commerce solutions with global scale, local nuance, and proven effectiveness.

Led by Marc Lomas, managing director of GroupM Commerce, and supported by Leah Jackson, group director of commerce strategy, Li, Grace and Domingues’ appointments strengthen Wavemaker, EssenceMediacom, and Mindshare’s commitment to commerce solutions.

Li and Grace both join as group directors of commerce strategy. Li, formerly eCommerce director at Publicis, previously led CPG brands such as P&G, L’Oréal, and Unilever. Her deep expertise in retail media will be instrumental in driving client growth across clients, including L’Oréal, Colgate-Palmolive and Danone.

Grace was previously CEO of US-based agency SparkXGlobal, and has global experience at Omnicom’s programmatic trading desk, Accuen, and the AI-driven Amazon Ads platform, Xnurta. His extensive data and technology background, coupled with his expertise in developing and implementing cutting-edge advertising solutions.

Domingues, who has previously worked for Mediacom, returns to GroupM and joins as head of commerce platforms. Formerly media activations lead at IPG Kinesso, Domingues is a results-oriented omnichannel specialist with a passion for planning, platform activation, and seamlessly integrating commerce and retail media into comprehensive omnichannel strategies, delivering best-in-class solutions for clients.

These appointments represent a significant investment in market-leading commerce capabilities across the GroupM’s agencies to drive client outcomes and deliver client growth.

Lomas said of the appointments: “Investing in top talent is crucial in today’s dynamic commerce environment. At GroupM, we’re proud to welcome these exceptional individuals to our team, bolstering our capabilities and reinforcing our commitment to shaping the next era of media by delivering outstanding results and innovative commerce solutions for our clients.”

Top image: Veronica Li, Ben Grace, Claudia Domingues

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According to the Ipsos iris January 2025 rankings, News Corp Australia (NCA) leads as the nation’s top news and information publisher. The publisher reached 17.642 million online Australians in January – that’s up 2.7 per cent month-on-month and outpacing its nearest competitor by 1.4 million, a gap that widened by 72 per cent compared to the previous month.

In the video sector, NCA continues to lead, with audience numbers growing by more than 6 per cent month-on-month.

Additional metrics show the company’s news network attracted 14.031 million users and generated 539 million browser page views –  that’s up 11.5 per cent month-on-month. With an engaged reach of 38.44 page views per person (a 15.4 per cent increase) and an average time spent of 47 minutes and 24 seconds per user, the publisher also delivered 2.13 million viewers and 65 million video views, setting a high standard in audience engagement.

Free news and lifestyle editor-in-chief Mick Carroll said: “Our newsroom strategy over the summer period has proved immensely successful. January is traditionally a quieter month and with that in mind we increased our focus on local news coverage, explainers and original in-depth stories.

We were also hyperfocused on leveraging our suite of content from entertainment and sport to lifestyle, food and travel. All of these things have made a real difference in ensuring we continue to deliver deeper engagement with our audiences.”

Managing director and publisher free news and lifestyle Pippa Leary said: “The editorial teams’ focus on engaging our core audiences has driven a real lift in our engagement and engaged reach statistics. Readers come to our homepages every day, deliberately choosing to engage with our content, ensuring that our clients’ campaigns benefit from wide exposure and deep audience interaction.”

Top digital positions

Six of News’ brands have secured spots in the top 25 sites for the News category, reflecting robust digital performance across its portfolio. Leading the pack, News.com.au reached an audience of 11.759 million, with 311 million browser page views and an average of 26.51 page views per user – its highest engagement in two years.

Other key properties include The Australian at 3.563 million, SkyNews.com.au with 3.549 million, Herald Sun at 3.350 million, The Daily Telegraph reaching 3.026 million, and The Courier-Mail drawing 2.894 million users.

Lifestyle leaders

In the lifestyle category, taste.com.au topped the chart with an audience of 4.841 million, following closely is news.com.au – lifestyle, which reaches 4.329 million users.

Within the Lifestyle (Fashion, Style & Beauty) sub-category, Vogue.com.au leads in both audience size and browser page views, reinforcing its reputation as the go-to destination for fashion and beauty brands looking to capture engaged consumers.

Sporting surge

News.com.au – Sports dominated the digital arena with 3.897 million users and an impressive engaged reach of 6.03 browser page views per person – up 23.8% from the previous month.

Meanwhile, CODE Sports cements its place in the top 10, boasting an audience of 1.657 million – a robust 33.2% jump month-on-month.

Travel takes off

News.com.au – Travel tops the category, capturing an audience of 2.594 million. Escape.com.au follows with a solid 1.125 million.

Pictured: Mick Carroll

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The Kyle & Jackie O Show is launching its $5 Million Dawn Dig competition – a high-stakes promotion featuring a $5 million jackpot hidden in one of 200 cash-filled bags. This initiative comes as the duo confront ongoing rating challenges in Melbourne, with the contest designed to reinvigorate local listenership.

From today, listeners can tune in daily for a chance to secure an entry. The promotion is aimed at sparking buzz in the Melbourne market – with the pair struggling to find an audience since launching last year.

Despite their prominence in Sydney, the duo has experienced inconsistent ratings locally, ending 2024 in sixth place with a 5% share.

The event will culminate on Friday, April 11, with a live broadcast from Melbourne’s St Kilda West Beach, where one lucky entrant will unearth the ultimate prize. This event marks the duo’s first outside broadcast in Melbourne since expanding into the southern state.

On the announcement, Jackie ‘O’ Henderson said: “We’re going back to where it all started, digging for cash. We’ve had success with digging. But this time, it’s not a million dollars. That’s small fry. You need a big chunk of cash like $5 million!”

Meanwhile, Kyle Sandilands added: “We thought we should make it $2 million, but you’ve got nothing left if you buy a house. We thought we’d make it $3 million, but we’ve never liked the number three. $4 million sounds like a better number, and then we thought that we should make it $5 million buried on the beach.”

The Kyle & Jackie O Show airs from 6am Monday on KIIS 1065 in Sydney, KIIS 101.1 in Melbourne or you can listen on the free iHeart app.

Pictured: Kyle and Jackie O

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Westpac has appointed BMF as its new strategic brand and creative agency.

Carolyn McCann, Westpac Group Executive, customer and corporate services, said BMF was selected for its exceptional strategic thinking and creativity.

“We are thrilled to welcome BMF to the Westpac family. Their innovative approach and proven track record in delivering impactful campaigns for clients aligns perfectly with our vision for the future. We look forward to collaborating with BMF to elevate our brand and engage with our customers in new and exciting ways,” McCann said.

“We would also like to extend our heartfelt thanks to DDB for their 13 years of partnership and invaluable contribution to our brand.”

BMF CEO, Stephen McArdle said of the appointment: “We are incredibly excited to be working with Westpac, bringing our strategic and creative expertise to life for one of Australia’s most iconic brands and companies. We can’t wait to work in partnership with the Westpac team to realise their ambitions around customer engagement and growth.”

The win for the creative agency comes off the back of a successful year.

BMF worked with Tennis Australia on reinvesting in its long-term brand platform, Hits Different, by building on the momentum and deepening its impact with the launch of its second iteration for the 2025 Australian Open.

Last year, BMF teamed up with ALDI Australia to encourage Aussies to ‘Go A Little Extra’ in their festive celebrations in its Christmas campaign and launching the first campaign for BWS after winning the Endeavour Group creative account in July.

The agency was also successful in winning Tourism Tasmania creative agency. The appointment builds on a successful partnership and will see the continuation of Tourism Tasmania’s long-term brand platform Come Down For Air and winter campaign Off Season.

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Google has made surprising admissions about its Privacy Sandbox, acknowledging significant functionality issues and refusing to commit to using it exclusively for its own ad business. The update was submitted to the UK’s Competition and Markets Authority (CMA), which has been overseeing the initiative to ensure it does not stifle competition in the ad tech market.

Privacy Sandbox is Google’s proposed alternative to third-party cookies, designed to balance user privacy with digital advertising effectiveness. However, the initiative has long faced industry skepticism over whether it can adequately replace cookies while maintaining ad performance.

One of the biggest setbacks revealed in the report was the failure of Google’s Attribution Reporting API (ARA), which is meant to measure digital ad effectiveness. Google found that up to 85% of advertising conversions tracked by ARA were 60-100% inaccurate compared to cookie-based measurement, raising major concerns about its reliability.

Google also confirmed that its own ad business will not operate exclusively on Privacy Sandbox technologies, opting instead for a “portfolio approach”,combining Sandbox with other methods, just as third-party advertisers do.

“The Commitments do not guarantee that Google’s own ads business will operate exclusively on Privacy Sandbox technologies,” the report stated. “Google intends to use a portfolio approach to addressability, which will include the Privacy Sandbox technologies, the same way third parties can and do use. We understand a portfolio approach to be common across the ads ecosystem.”

James Bayes, vice president ANZ of The Trade Desk, told Mediaweek: “Google has finally admitted what the industry has been saying for years: Privacy Sandbox doesn’t work. It doesn’t sufficiently protect consumer privacy, it doesn’t enable better addressability for advertisers, and it doesn’t help publishers monetise their content.

“While Google has spent years on a degraded product, Aussie marketers moved on. Outside the walled gardens, the open internet extends far beyond Chrome, with better identity solutions like Unified ID 2.0 that serves as the common currency of the internet.

“With UID2 advertisers have control, consumers have choice, and publishers have the power to thrive. This pullback on Privacy Sandbox may demonstrate that Google is quietly retreating from the open internet ahead of the DOJ trial resuming next month,” he added.

The timing of Google’s admissions is notable, as the U.S. Department of Justice (DOJ) is set to resume its antitrust trial against Google next month, focusing on the company’s dominance in digital advertising.

Mediaweek has reached out to Google for comment.

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Mediaweek’s Media Movers charts the biggest people moves in the industry over the past week.

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.

Nikki Grafton has been appointed as the first CEO of Omnicom Media Group (OMG) in New Zealand.

Grafton’s appointment marks the first time that OMG’s New Zealand operations will have executive oversight as a stand-alone market, rather than under a combined ANZ leadership team.

In the role, she will lead ongoing expansion and evolution of OMG’s future-ready business model and ensure OMG’s New Zealand agencies OMD, PHD and Hearts & Science have the talent, tools and technology needed to drive brand growth and tap into the opportunities available in a rapidly evolving landscape.

Mindshare has promoted Nik Doble to the role of chief investment officer.

Doble, who has more than 15 years of experience in the media industry, joined Mindshare 18 months ago from OMD.

In the new role, he will be responsible for overseeing the investment teams across Sydney and Melbourne. Doble will work with GroupM chief investment officer, Melissa Hey, to oversee a client portfolio including Unilever, Foxtel, NAB and Nike.

SCA has announced the promotion of Carla Mathisen to head of sales Brisbane, where she will lead the strategic direction of the sales team, focus on revenue growth, and strengthen client and agency relationships.

Mathisen has been with SCA for a decade, progressing from account manager to group sales, before taking on the role of head of agency sales in 2023. She replaces Hamish Rose, who is leaving after 13 years, including the last five as Brisbane’s head of sales.

News Corp Australia has launched a new health section led by Ashleigh Gleeson as national health editor. She was previously chief of staff at the Herald Sun and has been with News Corp for nearly a decade.

Tamara McDonald joins the team as deputy national health editor from the Geelong Advertiser, where she was the acting chief of staff and a health reporter.

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.

Shannon Beven has begun as news editor for The Nightly, based in Perth. She was previously a producer and an editor at The West Australian for more than eight years.

Laura Placella has returned as a court reporter at the Herald Sun. She covered the round last year before moving to a city reporter role for the masthead, where she covered the Lord Mayor’s election.

DEPT has welcomed Christine Watts as its new client director for creative and media in Australia.

In this new role, she will contribute to the marketing and tech services company’s growth, leading relationships with clients such as eBay, Ancestry, Canon, Grill’d, and PBS Kids.

Watts brings over 15 years of experience in leading global agencies and brings a wealth of expertise in client service, business development, and leadership to the team. Her advertising career journey includes six and a half years in the United States and a leadership position at Wunderman in New York.

Kelsey Wilkie has been promoted to chief of staff for NewsWire after more than two years as the deputy chief of staff for the media outlet.

Todd Reilly, former APAC Domino’s chief marketing officer, has been appointed as the new CMO for Victorian home builder AHB Group.

Reilly will be AHB’s first chief marketing officer. He brings over 20 years of marketing and senior leadership experience, having worked with Domino’s across the APAC region, including Australia, New Zealand, Japan, Malaysia, Singapore, and Taiwan.

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

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

Emily Holgate joined the Good Food team at The Age, working as an assistant producer for the Good Food app. She previously worked as a freelance writer for a year, covering lifestyle topics for titles including Body+Soul, Broadsheet, The Design Files, and Urban List.

Liam Murphy has started as a reporter at PerthNow. He was previously a news reporter at Examiner Newspapers for six months, and before that, he was a cadet journalist at SBS in Sydney.

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Over 18 million Australians accessed health-related websites or apps, according to the latest Ipsos iris data.

The figure represents a 4.3% increase from December 2024, reaching 18.4 million users. The data also shows that the average monthly time spent on health-related content rose by 20.9% to 68 minutes per user, underscoring growing audience engagement.

The biggest growth

The fitness and exercise sub-category experienced the most notable increase, with an additional 768,000 users – a 7.9% rise compared to December 2024 – accessing related platforms as part of renewed New Year health efforts.

Women aged 14 to 54 were the most frequent visitors for fitness and exercise content. Notably, women aged 40 to 54 spent nearly two hours per month on these platforms, while those over 40 showed a higher inclination towards nutrition and diet-related content.

Furthermore, nearly 8.8 million Australians used a health-related app in January 2025.

News makers

January 2025 saw robust engagement across digital news platforms, with both local and global stories capturing the attention of a broad audience.

In Australia, events such as the Australian Open, the Australia vs. India cricket test, the remarkable rescue of missing hiker Hadi Nazari after 13 days in Kosciuszko National Park – alongside Australia Day celebrations, the Triple J Hottest 100 results, and the season launch of Married at First Sight, drove significant local interest.

Internationally, ongoing coverage of the Israel-Hamas conflict, the war in Ukraine, the California wildfires, Donald Trump’s second inauguration, a mid-air plane crash in Washington DC, and a mysterious virus outbreak in China also featured prominently.

According to Ipsos iris data, more than 20.9 million people used a news website or app in January 2025, reaching 97.5% of online Australians aged 14 and above. This represents a 1.1% increase from December 2024 and a 3.1% rise compared to the same period last year. Additionally, Australians spent over five hours per month consuming online news content.

Career change

The data also showed the career category led the month-on-month gains with a 5.9% increase compared to December 2024 and a 7.6% rise year-on-year. This uptick reflects the common trend of job seekers exploring new opportunities at the start of the year.

Similarly, the homes and property category grew by 5.9% during the month, while the games category experienced a 3% increase – a rise that aligns with the school holiday period. In contrast, retail audiences remained steady, with figures comparable to those recorded in November and December 2024, a period typically associated with high shopping activity.

Year-on-year, the automotive category registered the strongest growth with a 10% increase. The games category followed with an 8.8% gain, while energy suppliers and utilities saw an 8.4% rise, and homes and property climbed by 7%.

Net gains

In January, 21.5 million Australians aged 14 and over accessed the internet. On average, users spent 4.8 hours online per day – nearly 148 hours over the month – a 4.3% increase from December 2024.

The most visited website and app categories in January were social networking (21.4 million users), search (21.4 million), technology (21.3 million), retail (21.2 million), and entertainment (21.1 million).

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Internet advertising market in Australia has grown 11.1% year-on-year to reach $16.4bn spend for the full calendar year 2024, according to the IAB Australia Internet Advertising Revenue Report (IARR)

The report, prepared by PwC Australia, found that video investment has significantly increased to 19.6% growth year on year to reach $4.5bn in 2024.

Search and directories increased 10.1% year on year to reach $7.2bn spend for the year, while classifieds expenditure increased 8.3% to $2.6bn. Display (excluding video) grew just 1.7% year on year to reach $2bn and audio expenditure increased 17.8% to reach $313 million.

All video formats experienced double-digit growth through 2024, with video displayed on social platforms now represents over one third of total video expenditure by video platform, ahead of BVOD and other video expenditure. Olympics investment in the third quarter was one of the key drivers for the strong growth for the video market.

For the financial year, connected TV continued to yield the greatest share of content publishers’ video inventory expenditure, reaching a new peak of 51% for the calendar year, with both mobile and desktop expenditure decreasing.

The buying type for content publishers display inventory remained steady, with internet advertising from an agency via insertion order stable at 44%, client direct buying at 17% and programmatic purchasing at 39%.

Retail remained the top industry category for display advertising at 17.1% share of the ad spend for 2024, followed by automotive, which continued its post COVID climb to reach 14.8%, with finance rounding out the top three, despite slightly dipping to 8%.

“After a modest growth rate of 3.7% in 2023, the digital advertising market again achieved double-digit growth in 2024 sustained by an ever-increasing range of ad formats and environments, as well as spend from the SME market right through to the big end of town,” Gai Le Roy, CEO of IAB Australia, said.

“As always growth is mixed across the market, and it is tougher for those content publishers who do not have significant video inventory and are relying on standard display inventory.”

The Report also included a break down of December 2024 quarter data. Key highlights include:

• Total revenue $4.258bn, up 8.8% compared to the 2024 December quarter
• Year on year search and directories grew 8.8% ($1.834bn for the December quarter); non-video general display dropped 2.4% ($540m); classifieds grew 0.1% ($575m), video grew 19.2% ($1.309bn) and audio grew 15.1% to $90m.
• Across advertiser categories, auto advertising share dropped back year on year to 17.3%, ahead of retail where share also dropped slightly to 14.6%.  Entertainment at 7.6%, FMCG (7.5%) and Finance (7.5%) all increased share.

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Terri Owens, former senior GroupM executive, joins Fabulate in the new role of client service and operations director, overseeing client service and operations for the Australian influencer marketing platform.

Owens joins the company after almost a decade at GroupM, where she held senior roles, including head of business operations and general manager of product, data and technology and in 2024 was named on Campaign’s 2023 APAC Women to Watch List.

For the past year, she worked for WPP’s new data and AI play Choreograph as general manager of business operations. During her time as general manager, product data and tech at GroupM, Owens was instrumental in launching INCA and GOAT in Australia. She also led the development of affiliate marketing solutions for GroupM, cementing her reputation as an industry leader in building scalable, tech-driven marketing ecosystems.

“Terri has been at the forefront of influencer marketing technology,” said Toby Kennett, CEO of Fabulate.

“She recognised early on that the best way to scale influencer marketing effectively is by embracing technology-based solutions. Her expertise will be instrumental in driving Fabulate forward, and we couldn’t be more excited to have her on board.”

Owens will report to both Ben Gunn, chief revenue officer, and Nathan Powell, chief product and strategy officer and will work closely with Fabulate’s commercial and product teams to ensure the platform continues to evolve in line with client and creator needs.

Gunn noted Owens would help Fabulate service the growing number of influencer briefs coming out of APAC.

“We could not be more excited to have Terri on board,” said Gunn. “Terri’s speciality is scaling operations and we are seeing a growing demand for responses out of the APAC region. She has the expertise to help us do that while also continuing to grow the substantial foothold we have in the Australian influencer market.”

Owens said of her new role: “Influencer marketing has evolved significantly in just a few years, and Fabulate has been at the centre of making this space more efficient, scalable, and impactful for brands. I’ve seen it directly from the agencyside. I’m so excited to be joining a team that truly understands the power of technology in this space and look forward to helping Fabulate continue to set new industry standards in client service and innovation.”

Top image: Terri Owens

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After more than 30 years on Australian television, Home and Away’s Lynne McGranger will conclude her role as Irene later this year.

McGranger’s enduring portrayal has established Irene as a familiar presence in Summer Bay, making her departure a notable moment for the series.

McGranger’s, who is the longest-serving female actor in an Australian drama series, said: “After almost 33 years in my dream role and working everyday with people who I love, respect and whom I now consider family, it’s bittersweet to be closing the chapter on what has been the best and longest gig of my life.

“I am forever grateful to the best production crew in the world and to our genius writers – whose doors are always open – for everything they have done for Irene over the past 33-odd years, and I am so proud of the storyline which will see Irene out of the Bay. Above all, a massive, heartfelt thank you to the fans for your continued love and support.”

In the series premiere, Irene – portrayed as a recovered alcoholic returning to Summer Bay in hopes of reconnecting with her daughter Fin (Tina Thomsen) – quickly became an integral part of the community. Over the years, the character has driven numerous major storylines, including narratives around alcoholism, a breast cancer diagnosis, the emergence of a long‐lost son, and dramatic events such as a ferry boat sinking, a bomb explosion, a plane crash, and even a stint in prison for a murder she did not commit.

Irene’s distinctive colloquialisms and catchphrases (“girly”, “darl”, “flippin’ heck!”) have become embedded in Australian pop culture, with TV WEEK readers ranking her the second Greatest Australian TV Character Of All Time in a 2023 poll.

Outside of her work on the show, McGranger’s profile has been further elevated by her runner‐up finish on Seven’s Dancing With The Stars in 2014 and the release of her autobiography, Acting Up: Me, Myself and Irene, in 2021.

Home and Away’s executive producer, Julie McGauran said: “What a pure joy and privilege it has been for all at Home and Away to work with the wonderfully talented, witty, funny and kind Lynne McGranger. Lynne’s extraordinary portrayal of down-to-earth Irene Roberts is why the character is held with such great affection by fans around the world. Lynne will always be a much-loved member of the Home and Away family, her friendship to all is truly cherished and we wish her all the best for what’s next in her bright, bright future.”

Fans are urged to tune in as Home and Away heads towards Irene’s emotional exit storyline.

Pictured: Home and Away’s Lynne McGranger

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