Warner Bros. Discovery (WBD) has officially announced the launch of its premier streaming service, Max, in Australia on Monday, 31 March 2025. This move is set to reshape the Australian streaming landscape, offering a comprehensive content library that spans iconic brands and franchises.

Max will serve as the central hub for a diverse range of content, bringing together HBO Originals and Max Originals, including highly anticipated series such as The Last of Us, House of the Dragon, Euphoria, and Peacemaker. Season two of The Last of Us will debut exclusively on the platform on 14 April 2025. Fans of classic television will also be able to stream Warner Bros. Television’s most beloved series, including Friends, The Big Bang Theory, and Rick and Morty.

The platform will feature recently released theatrical hits from Warner Bros. Pictures and DC Studios, including Barbie, Beetlejuice, and Twisters. In addition, Max will house some of the most popular franchises in entertainment history, including Harry Potter, Lord of the Rings, and the DC Universe. Viewers can also expect a mix of real-life stories and family-friendly content from networks like TLC, HGTV, and Cartoon Network, with shows such as 90 Day Fiancé, Outback Opal Hunters, Ben 10, and We Bare Bears.

JB Perrette, CEO and president of global streaming and games at WBD said: “We’ve been clear that the globalisation of Max is a top priority, and Australia represents one of our biggest new markets and a significant opportunity to delight even more fans with the incredible stories told by our iconic brands. Combining an unrivalled breadth of high-quality content, legendary franchises and a strong product experience, Australians can look forward to the highest-calibre streaming proposition from March 31.”

Michael Brooks, general manager WBD Australia and New Zealand said: “WBD has a long history in Australia, and we know our world-class content from HBO, Warner Bros., Discovery and more is incredibly popular with audiences here. We have a clear strategy to maximise reach through our direct-to-consumer app and distribution partnerships, and our collaboration with Foxtel at launch is a testament to that. We can’t wait for fans across the country to experience Max.”

A major part of Max’s Australian launch strategy is its partnership with Foxtel, which will provide Foxtel subscribers access to the Max app at no additional cost. This collaboration ensures that existing Foxtel users can seamlessly transition to Max’s extensive content offering while maintaining their current subscriptions.

The introduction of Max is set to shake up the Australian streaming market, intensifying competition among established platforms such as Netflix, Stan, Disney+, and Amazon Prime Video. With Max now serving as the exclusive home of HBO content in Australia, it could also lead to changes in the content available on other local streaming services like Binge, which has traditionally hosted HBO programming through its partnership with Foxtel.

Max will be available for subscription at www.max.com and via app stores, including the Apple Store and Google Play Store. The service will be accessible on mobile, tablets, gaming consoles, and connected TVs, including Hubbl. While pricing details have yet to be announced, Max will launch with multiple subscription tiers, including premium, standard, and an ad-supported option. Additional information about pricing, features, and content will be released in the weeks leading up to launch.

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Nine’s acting CEO, Matt Stanton, has used the company’s first-half results call to reinforce the network’s leadership position while urging the Federal Government to enact key media reforms. Speaking to investors, Stanton outlined the company’s strong performance across television, streaming, publishing, and radio while making a compelling case for regulatory changes to better support Australian media businesses.

Regulatory priorities: Anti-siphoning, broadcast tax, and digital competition

Stanton was unequivocal in his call for reforms to Australia’s media landscape, particularly in relation to the anti-siphoning scheme, the commercial broadcast tax, and digital platform regulation.

Nine has long championed the need for an updated anti-siphoning framework, ensuring iconic Australian sports remain accessible on free-to-air and BVOD platforms like 9Now. Stanton pressed the Government to prevent global streaming giants from securing exclusive rights to marquee sporting events before local broadcasters have the opportunity to bid.

“With an ever-increasing number of Australians choosing to stream live sporting events on 9Now, it shouldn’t matter whether you have an aerial on your roof as to whether you can access free live Australian sport or not,” he said.

He also welcomed the Federal Government’s recent decision to suspend the commercial broadcast tax, a move that will save Nine approximately $14 million during the suspension period. However, Stanton urged for a permanent revocation of the tax to ensure local broadcasters can continue to invest in Australian content.

On the issue of digital competition, Stanton endorsed the Government’s proposed digital competition regime, which aims to curb the dominance of global tech platforms. He argued that this framework is critical for addressing anti-competitive behaviour and power imbalances, as outlined in multiple ACCC digital platform reports over the past seven years.

“The introduction of the news media incentive is critical to ensure that commercial deals with the digital platforms are entered into or continue to be entered into in respect of our valuable Australian news content,” he said.

Strong performance across Total TV, Streaming, and Publishing

Nine continues to see strong audience engagement across its platforms, with Stanton highlighting robust growth in total TV, streaming, and publishing.

• Total TV audiences have remained strong into 2025, driven by the Australian Open (+5% YoY) and Married at First Sight (+23% total TV audience, including +14% live and +33% catch-up on Nine).

• 9Now continues to see ad revenue growth in the low-to-mid teen percentage range for the March quarter.

• Stan’s Summer Originals (Bump, Black Snow) have contributed to subscriber engagement, with second-half EBITDA growth expected to exceed the 16% growth reported in H1.

• Publishing saw continued digital subscription revenue growth in the low-to-mid teen percentage range in Q3, underpinned by Nine’s mastheads, despite a weaker programmatic ad market.

Nine’s radio business saw a slight dip in Q3 broadcast advertising revenue but continued strong digital revenue growth. Meanwhile, Nine expects further cost efficiencies of over $100 million through FY27, with $10–20 million expected to be realised in FY25.

The CoStar-Domain proposal: “Very early days”

Stanton also addressed the recent takeover proposal by US real estate giant CoStar for Domain, Nine’s property listing business. While confirming that the proposal is under assessment, he stressed that it is too early to comment further.

“For Nine, as we outlined earlier, Domain is of strategic importance to our business. We are, of course, taking the situation seriously and will give the proposal due and proper consideration, taking into account the best interests of shareholders,” he said.

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Ray Hadley, the once-iconic voice of 2GB whose four-decade career transformed Australia’s media landscape, has shifted his focus from new broadcasting ventures to family. Since his retirement last December, Hadley’s personal priorities have taken centre stage following the diagnosis of his three-year-old granddaughter, Lola, with leukaemia.

“Well, when I retired in December, I had plans to do other things this year, not full time, but, you know, I was looking at other adventures, you know, that in broadcasting that I might undertake, but that’s just not even a factor anymore. It’s, you know, it’s all about Lola probably for the next 18 months or two years,’ the 70-year-old told Mediaweek, underscoring the profound impact of this family crisis on his future plans.

Reflecting on his decision to step back from the microphone, Hadley says he believes he made it at exactly the right time. “If I’d been working, well, I don’t think I would have been able to work (given Lola’s diagnosis)”, he said.

“I had been thinking that if I’d gone back to work, as I normally do at the end of January, three weeks after her diagnosis, I just couldn’t have coped. What used to be important things are now unimportant compared to what’s happening to my granddaughter.”

Finding out

Describing the early stages of Lola’s treatment, Hadley added, “It’s probably about eight weeks in, and, you know, there’s a shock factor connected for the first, I guess, month or so. And then they get into a routine of chemos on certain days, bone marrows on another day and lumbar punctures on another day. But then you’ve got the unexpected things, because, if, because her immune system is non-existent, if she gets a cold or gets a flu, gets an infection, it’s hospitalisation within 40 minutes. Luckily, they live about 35 minutes from John Hunter, so they have to pack up and head there.”

Laughing Lola

Despite the gravity of the situation, Hadley finds solace in Lola’s resilient spirit. “I call her laughing Lola, because she’s just always, she’s always smiling.”

Reflecting on Lola’s understanding of her treatment, he said, “She’s three, she knows what’s coming. She’s got a port in her chest. She knows when they’re going to give her chemo or take blood. She’s got cannulas. She’s got feeding tubes, she’s got a whole range of things that, even though she’s only three, she’s has figured out that what hurts and what doesn’t hurt.”

Family logistics

Managing the family as a whole has become a central concern for Lola’s parents as they have two other children, a six-year-old and a one-year-old to consider. “So one of them has to stay with those two children unless Laura’s mother, Anne Marie, is available, and she’s doing a pretty good job of being available,” he explained.

Hadley highlighted further challenges: “When they get to the hospital it could be an overnight stay, or, in the case of more recently, could be a week stay. And so then my daughter has to put her job aside and take leave without pay. There’s a financial imposition. Like any young family, they’ve got a mortgage with two incomes to service the mortgage, but there’s only one income there at the moment.”

He noted the adjustments required by his son-in-law as well: “My son-in-law’s got to be very adaptable as to what he does with the job – he works for the council as a project officer, and they’ve been very accommodating of him on what day he can work. What day he can’t work, depending on what hospital visits there are, and usually, when procedures are being done, she wants both of them there.”

Reaching out

Recognising a broader context, Hadley observed, “there are hundreds of children across Australia between very young and teenage years the same sort of illness at the moment, and so we’re conscious they’re not the only ones in this position, and that’s why initially no one knew except the immediate family. But as the word spreads, my daughter said it’s important that other people in our position know that, you know, they’re not alone, and there’s support for them.”

In a final note of family solidarity, he shared, “She”s about to lose her hair. She has beautiful curly hair, and it’s about to come out. Her aunties have made beanies for her. My son and one of my grandsons will cut their hair. So that when we go there we can take the beanie off and say we look the same.”

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TikTok launched The Discover List 2025, showcasing 50 “creators to watch” across Educators, Foodies, Icons, Innovators, and Originators.

The list highlights trendsetters who are inspiring audiences globally, sparking trends, inspiring audiences and shaping the future of content creation. It spans the US, New Zealand to South Africa and includes two creators from Australia – Lily Huynh (@biteswithlily) and Aslan Pahari (@aslanpahari), both from Sydney.

“At TikTok we are committed to celebrating our incredible creator community. Today we are excited to unveil The Discover List 2025 – a showcase of 50 creators to watch from across the world,” said Kim Farrell, head of creators at TikTok.

“From the Educators who are inspiring their communities to learn something new, to the Icons who have entertained audiences with their unique point of view, we are proud to be a space where new talent can be discovered and authenticity can truly thrive,” she added.

@tiktok we are so excited to unveil #TheDiscoverList ♬ original sound – TikTok

Huynh takes her followers on an adventure to discover the best food around the world, from local street food to recreating mouthwatering recipes at home, her vibrant content has won the hearts (and appetites) of food lovers everywhere.

Huynh told Mediaweek it was an honour to recognised on the list. “It’s a reflection of the passion and creativity I’ve poured into my content and community, and motivates me to keep growing and making a positive impact as a creator.”

While Foodtok is a saturated space on the platform, she shared that her key to ensuring her content stands out is “bringing food to life through storytelling, captivating visuals, and a genuine passion for exploring different cuisines.”

Pahari’s engaging educational content is a combination of his passion for history and culture with storytelling. With his deep knowledge of mythology, language, and South Asian traditions, he uses his platform to share thought-provoking insights, debunk myths, and inspire curiosity in his millions of followers worldwide.

For Pahari, being on the list is “incredibly rewarding.” He told Mediaweek: “I started on TikTok in early 2020, and at first, my educational videos didn’t go viral. It took months of research, writing, and sharing my passion before I had my first breakthrough. Seeing how far I’ve come since then is an amazing feeling.”

He revealed that making videos on topics he is genuinely interested have helped with ensuring audience engagement.

“My goal is to share that passion and connect with people who are just as curious. The fact that my videos often go viral shows that subjects like anthropology, history, linguistics, and religion resonate with a lot more people than you’d expect,” he said.

Pahari revealed that people can expect a shift toward regular long-form content in the year ahead. “This is one of the most common requests from my audience, and it’s something I’ve been planning for a while. I’m excited to finally make it happen,” he added.

@aslanpahari Why do countries have multiple names? #history #geography #educational #learn ♬ original sound – ASLAN PAHARI

Simon Bates, head of content for TikTok Australia and New Zealand, said: “We’re delighted to highlight our Discover List honorees as we continue building a unique platform where over one billion people, including 8.5 million Australians, come to be entertained and learn something new.

“Whether they’re starting trends, or redefining what it means to be an Educator, Foodie, Innovator, Icon, and Originator, these creators are the true definition of authentic expression, and we can’t wait to see what they do next.” 

Top image: Lily Huynh and Aslan Pahari

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Sustainable Screens Australia (SSA) has unveiled the nation’s first Sustainability Supervisor training program, backed by Netflix and Screen Australia. The initiative is set to address the growing demand for sustainability expertise in film and television production.

Starting in April 2025, the program will prepare six industry professionals to step into a Sustainability Supervisor role – a head of department level position dedicated to implementing sustainable practices across all production stages.

According to SSA, The move not only reinforces its commitment to environmental responsibility but also opens new avenues for advertisers and industry stakeholders seeking to align with the shift toward greener production practices.

“There has been no formal training in Australia for this role until now,” said Maree Cochrane, executive director of SSA. “These six scholarships will equip participants in positions of influence with the knowledge, skills and connections to drive meaningful environmental change in our industry”.

The comprehensive curriculum combines two in-person weekend retreats, weekly online workshops, and a paid placement. The program covers a broad range of topics – including First Nations perspectives, climate change and biodiversity, systems thinking, political frameworks, habit change philosophy, advocacy strategies, data analytics, and repurposing waste – designed to equip screen professionals with cutting-edge sustainability skills.

Participants will be selected through a rigorous application process open to Australian screen professionals nationwide. Eligibility requires experience as a head of department or supervisor, or a minimum of five years in screen coordination, with a strong emphasis on encouraging diverse backgrounds to ensure a variety of industry perspectives.

Developed by transformative education author Sara Rickards and Cochrane – the program also features First Nations Advisory from musician and custodianship educator Nidala Barker, along with guest speakers such as production sustainability expert Heidi May.

Building on a successful pilot in Wales, the initiative offers advertisers and trade professionals a chance to align with a forward-thinking, environmentally responsible future in the screen industry.

The program runs from April to August 2025. Applications are open now and close Sunday 9 March. You can learn more about the program on SSA’s website or by attending a webinar on Wednesday 5th March, 10-11am or Thursday 6th March, 7:30-8:30pm.

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UnLtd, the social impact organisation for the media, marketing, and advertising industry, has announced the departure of CEO Stephen Hunt, who will be stepping down at the end of February to pursue new opportunities.

Hunt joined UnLtd in May 2024 and has played a key role in shaping the organisation’s strategic direction during his tenure.

Karen Halligan, chair of the UnLtd board of directors, said: “The UnLtd Board would like to thank Stephen for his contribution to the UnLtd journey and wish him all the best. We are in an exciting stage for UnLtd with a new strategy and a strong team and Board in place as we transition to our next stage of growth and greater impact.”

Hunt said of his departure: “It’s been an honour to lead UnLtd through such an exciting stage of its evolution in consultation with our incredible supporters and charity partners. I’m proud to have delivered a compelling strategy with the team and am confident that UnLtd (and our social impact brand MOOD) will harness the unique capabilities of our industry to deliver even greater social impact for the young people we serve in the coming years.”

“I know I’m leaving the organisation in safe hands with an experienced team and a committed Board on hand to coordinate the thousands of supporters in our industry who want to make a difference. I look forward to joining them in supporting UnLtd as the industry unites to do great things.”

UnLtd’s future plans and continued impact

Despite the leadership change, UnLtd’s operations will continue as normal, with a packed calendar of fundraising events and impact campaigns planned across Sydney, Melbourne, Brisbane, and Auckland in the coming months.

Halligan said: “We have a brilliant and experienced team of change-makers at UnLtd, supported by a committed Board of industry experts. It’s also worth highlighting that UnLtd is much more than the individuals who work there. The impact that we generate is only possible due to the thousands of passionate volunteers and supporters across our industry, who use their skills for good to create long-term change for young people at risk.”

UnLtd has not yet announced a successor for the CEO role, but the organisation remains focused on delivering its mission and expanding its reach.

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One of the things I’ve observed since I started my career in marketing is the gradual (and sometimes rapid) increase in the complexity of the landscape. Never before have we seen such a proliferation of channels in the advertising realm and marketers increasingly need to have a hand on every lever.

On top of this – certainly from the conversations I have been having – there are fewer classically trained marketers these days as businesses look to slim down their operations. The upshot is that those who are tasked with leading these departments have extremely full plates.

The solution to this challenge is the harnessing of nascent AI technology, which can provide the support marketers and brands require. The benefits are many, but the most obvious include completing tasks in minutes or hours that historically would have taken days, and allowing informed, data-supported decisions to be made at speed.

We are now seeing significant advances in large language modules and AI agents. From creating media plans, analysing complex data sets, to creating efficiencies in processes, marketers are now technologically enabled to refocus their efforts on higher yield areas.

Equally important are the efficiencies in overheads that can be realised. Vastly improved predictive analytics on specific customer audiences mean that the cost of conversion for businesses can be greatly reduced.

There are also really exciting gains being made in optimising creative in real time. This means potential customers are increasingly being served highly relevant ad creative that aligns with their interests and the environment they are in.

Given the gains that this technology enables, as a starting point, a key question I’d pose to any overburdened marketer is this: what are the innovations in this competitive landscape that would really make your life easier?

Answering that one and then taking the time to gain the knowledge of platforms or partners who can help deliver on your set goals represents a huge leap forward.

If that’s the task marketers should set themselves, then it’s dependent on those who provide services for them to uphold their end of the bargain. Which means offering a unified view of all channels that gives a strong line of sight to performance. In short, making data analysis incredibly straightforward.

As we settle into 2025, here is my primary observation: marketers are, overwhelmingly, stretched. And channel complexity is only increasing. But AI-powered technology is primed to relieve much of the pressure. Which is why I am convinced that marketers who engage with what’s on the table won’t just keep up – they’ll put themselves ahead of the pack.

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Podcast advertising is set for significant growth in 2025, with 79 per cent of agencies planning to increase their investments in the channel, according to IAB Australia’s latest Australian Audio State of the Nation Report.

Streaming music and streaming radio are also expected to see increased spending of 65 per cent and 56 per cent respectively, as advertisers capitalise on digital audio’s ability to offer incremental reach and complement other media.

Now in its ninth year, the report from the Interactive Advertising Bureau provides an authoritative snapshot of the evolving audio landscape, tracking industry attitudes across streaming music, radio, original podcasts and catch-up radio.

Branding is the key driver

According to the report brand-building remains the dominant objective for digital audio campaigns, but there has been a notable rise in the use of streaming audio and podcasts to enhance brand perception and engage audiences through storytelling.

This shift underscores the unique capacity of podcasts to create deep emotional connections with listeners, an increasingly attractive proposition for advertisers.

Gai Le Roy, CEO of IAB Australia, noted: “The Report highlights the strength of the digital audio ad industry in terms of investment but also its expansion within the digital ecosystem.

“Agencies and marketers are applying the same measurement techniques to digital audio as they do to video. They are also exploring the role of podcasters in the creator economy and capitalising on the growing trend of video-enabled podcasts.”

The rise of programmatic audio buying

One of the report’s standout findings is the continued rise of programmatic digital audio buying. In 2025, 78 per cent of agencies expect to buy digital audio programmatically, up from 72 per cent in 2024 and 63 per cent in 2023.

Key drivers of this growth include cross-channel frequency management, enhanced audience targeting, and greater flexibility in campaign execution.

Steve Golding, Chair of the IAB Audio Council and Head of Audio Automation at NOVA Entertainment, commented: “It is pleasing to see the report reflect the uptick in the number of advertisers using programmatic buying for digital audio inventory, offering both increased options for existing audio advertisers as well as welcoming a range of new digital advertisers.”

The report also highlights a diversification of podcasts beyond traditional lifestyle, health, and wellness content. Investment in society and culture podcasts rose by 12 per cent, news and current affairs by 10 per cent, and true crime podcasts by 9 per cent. The crime category’s growth aligns with the 2024 IAB Australia ‘Crime Pays’ Report which demonstrated the strong engagement and memorability of true crime content as factors that significantly influence consumer behaviour.

Measurement and tracking are issues

The Report also highlighted how podcasts continue to play an increasingly vital marketing role in the creator economy, thanks to new and untapped partnerships between podcast creators and advertisers.

With 87 per cent of respondents recognising the value of podcasters to build highly engaged communities, making them a valuable asset for brands looking to foster authentic connections with audiences.

However, measurement and standardised audience data remain barriers to greater digital audio adoption.

Agencies clearly see the benefits of audio advertising, but the report noted that improved programmatic supply, enhanced targeting and personalisation, increased ad verification transparency, and stronger collaboration between media owners could further accelerate industry growth.

The Australian Audio State of the Nation Report follows the recent release of the IAB Australia Internet Advertising Revenue Report, which revealed digital audio advertising revenue reached $313 million in 2024. The findings confirm that digital audio is becoming an essential part of the modern media mix, with advertisers increasingly leveraging its unique strengths.

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De’Longhi has launched a new global campaign for La Specialista Touch, created with Sydney-based agency Focus Creative.

La Specialista Touch is designed for coffee enthusiasts eager to elevate their home barista experience abd the campaign follows the user’s journey through each of the five essential stages of coffee craft—grinding, tamping, brewing, frothing and enjoying.

The agency developed 15- and 30-second videos, as well as out-of-home, digital, POS, and social assets.

“Campaigns like this pose all kinds of enjoyable challenges,” Carlos Jonmundsson, founder of Focus Creative, said. “Apart from the need to engage stakeholders from all parts of the world, we also needed to tell an authentic story that resonated with coffee drinkers who want to express themselves but might feel intimidated by the process.”

Giulia Ortolan, De’Longhi brand specialist, underscored the importance of developing the campaign in Australia. “Australia is a global leader in coffee trends, so it made sense to develop this campaign in a region where the next wave of coffee is being created.

“Focus Creative has a deep understanding of café culture, and that knowledge was invaluable in the creative process.”

Global collaboration

The La Specialista Touch campaign is the latest in a series of collaborations between Italy-based De’Longhi Global and Focus Creative. The agency was able to successfully craft a campaign that not only resonates with coffee enthusiasts but also strengthens De’Longhi’s position as a premium coffee brand by integrating deep consumer insights with cutting-edge design and storytelling.

The campaign’s production required seamless coordination between global teams. This ensured that the messaging remained consistent across different markets while still allowing for localised cultural nuances.

The creative execution brought together talented professionals across branding, strategy, design, production, and content creation. The collaboration extended beyond traditional media to include an engaging social media strategy, allowing coffee lovers to interact with the campaign in a meaningful way.

Credits
Client: De’Longhi HQ
Brand Specialist – Coffee: Giulia Ortolan
Global Brand Manager – De’Longhi Coffee: Valentina Bonutto

Agency: Focus Creative
Lead strategist: Carlos Jonmundsson
Creative Director: Tanya Ilinkovski
Design: Alex Ferguson-Kang
Account Manager / Strategic Support: Vanessa Nappa

Video and Photography Production Agency: Chee Productions
Executive Producer: Matt Chee
Producer: Bec Deasy
Director: Chester Buchanan
Photography: Andy Lewis
Product Demonstration Production: Andy Lewis

Social Media Assets: Monday Made, UpStairs Creative Studios
Video Director: Daniel Karjadi
Styling: Tori Annesley

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Stephen Howard will leave Ovolo Hotels in April as the company’s group director of marketing and communications.

He took to LinkedIn on Tuesday to share the news of his departure, calling his decision “a mix of emotions.”

“When I joined Ovolo, I was drawn to its bold, disruptive spirit, a challenger hotel brand that didn’t just follow trends but set them. Over the years, I’ve had the privilege of working alongside some of the most creative and passionate colleagues in the industry, helping to shape Ovolo’s brand, launch groundbreaking campaigns, and steer the business through some of the toughest challenges, including a global pandemic.”

During his seven years with the group, he was part of launching new properties, entering the international market, and rebranding to “Wonder. Full”.

Howard on several industry boards and judging panels, and his past roles include national manager public relations for Hyundai Motor Company Australia and group PR director for Event Hospitality & Entertainment Limited.

In the post, he said: “Ovolo has never been just a workplace for me; it’s been a home for ideas, innovation, and incredible people,” he said.

Howard explained that his decision to leave was personal, “rooted in the need to focus on family, health, and the next chapter of my journey,” and that he leaves the company with “immense pride and gratitude for everything we’ve built together.”

He also thanked Ovolo Hotels founder and executive chairman Girish Jhunjhnuwala, the leadership team and colleagues.

“To my marketing and communications team, both past and present, you’ve all been incredible, and it’s been an honour to work by your side. Your creativity, support, and shared passion for delivering exceptional marketing communications strategies and initiatives, bound by the philosophies of our F.A.M.E. brand pillars, emotional connection, and effortless living, have made this journey one I will always cherish.

“This is not a farewell, but a ‘see you later. ‘ I’ll be cheering Ovolo on from the sidelines.”

Top image: Stephen Howard

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Audiences in Australia and New Zealand can now access a dedicated audio section on BBC.com and the BBC app, designed with international listeners in mind.

The platform features a comprehensive portfolio of current and archived podcasts – including Global News Podcast, World of Secrets, and Infinite Monkey Cage – as well as livestreams of World Service Radio and Radio 4.

Ambie award nominees such as Good Bad Billionaire and Who Replaced Avril Lavigne? and Joanne McNally Investigates also join the collection.

For the first time, users will be able to utilise an integrated experience that combines the BBC’s award-winning audio content with trusted journalism and storytelling, offering deeper context and analysis on key topics without leaving the platform. This expansion further enhances the BBC’s routes to market, which already span the BBC News channel, BBC Earth channel, FAST channels, and YouTube channels, presenting new opportunities for advertisers to engage audiences.

BBC Studios’ CCO, global media and streaming, Tara Maitra, says: “Audio is in the BBC’s DNA, with over 100 years of radio broadcasting and as one of the world’s largest producers of audio. Our ongoing digital transformation and innovations ensure our platforms are a one stop shop for the best of our journalism and storytelling, bringing benefits for both our audiences and commercial clients globally.”

While, Louise La Grange, BBC Studios’ SVP, BBC Audio, digital news and streaming, says: “BBC podcast fans will now have seamless access to 1000s of hours of great audio covering a huge breadth of genres and topics as part of our global platform offer. We know our groundbreaking storytelling is known for starting conversations and are delighted to make our audio content even more accessible for audiences around the world.”

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NOVA Entertainment has today announced Kim Kerton will take on the newly created role of head of podcast partnerships.

The role will operate within the branded entertainment division, CREATE, and focus on podcast-led content and show integration. The company says the appointment reinforces its commitment to expanding its digital footprint and delivering innovative advertising solutions.

Kerton returns to NOVA after five years as a strategic consultant, working with major brands including Queensland Tourism, Colonial First State, Tourism Tasmania, and AGL. Her expertise in crafting targeted podcast content, audience engagement, and monetisation strategies will be key in driving the next wave of digital partnerships.

Previously, as head of CREATE Sydney, Kerton led brand integration initiatives for some of Australia’s largest audio advertisers, backed by over 15 years of sales leadership. Her return marks a strategic move to further strengthen NOVA’s digital leadership, opening new avenues for advertisers in the evolving podcast landscape.

Kate Murphy, NOVA’s director of commercial strategy, described Kerton as uniquely qualified for the role.

“Kim is a unique talent, an expert in both content and commercial podcasting, alongside significant experience in commercial brand integration,” she said. “She knows intimately how to maximise the potential that our content, talent and audience represent for advertisers.”

Murphy continued: “When it comes to brand integration, radio sets the standard for depth of creativity and connection, within audio and beyond. NOVA has long been a market leader on that front and Kim’s appointment speaks to our intention to offer customers that same gold standard of access, influence and impact across our podcast content.”

Of her new role Kerton said: “It feels like the best of both worlds for me – being back at NOVA and getting to do what I love. As a podcaster, I understand the balancing act between creating conversations that connect with an audience and then building a meaningful role for brands within that.

“I know there’s greater potential in podcast advertising. And I know I’m in the right business to unlock that,” she said.

Kerton’s appointment comes alongside the addition of key new titles to the NOVA Podcast network, including Schwartz Media’s 7am and JOHNS MEDIA’s Backstage with Cooper & Matty Johns and The Johns Family Podcast. These moves underscore a strategic shift toward expanding NOVA’s digital content portfolio.

This development builds on recent digital transformation efforts at NOVA, which saw the appointment of Michelle Golding as digital strategy director and Rebecca Jeffrey as business director, digital, in 2024 – recruits from BBC and Seven Network. The combined initiatives highlight the network’s commitment to driving commercial growth in its digital arm.

Pictured: Kim Kerton

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The Australian Association of National Advertisers (AANA) is reinforcing the advertising industry’s commitment to responsible advertising practices and its role in eradicating greenwashing with the upcoming launch of the Environmental Claims Code (the Code).

The Code, effective 1 March 2025, aims to set a new standard for advertisers, and help foster transparency and trust in environmental marketing.

It complements and reinforces the Australian Competition and Consumer Commission’s (ACCC) Guidance on Environmental Claims, ensuring that environmental messaging is truthful, clear, and verifiable.

The Code includes images, sounds, and any broad or vague environmental claims. Advertisers will now be obligated to ensure that any claims about future actions or sustainability targets are realistic, achievable, and regularly tracked.

The advertising industry plays a crucial role in stamping out greenwashing as a catalyst to the behavioural change to transition to a sustainable future including nudging consumers towards more sustainable products or consumption patterns.

Josh Faulks

“The advertising industry has an important role to play in the fight against greenwashing,” AANA CEO Josh Faulks previously said about the Code.

“By encouraging truthful and accurate environmental claims, we can influence the behavioural change that is necessary to transition to a sustainable future.”

The new Code is supported by an explanatory Practice Note for the practical application of the Code and AANA has provided comprehensive training to the industry through an industry-wide webinar accessible to anyone to ensure Australian advertisers comply with the new rules.

AANA members have exclusive access to a suite of free resources; first and foremost a new online training course on the Environmental Claims Code, advice and tailored training.

A key strength of Australia’s world-class self-regulatory system is the independent complaints handling process administered by Ad Standards.

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More than 15 billion minutes of content was consumed on average each week by Australians, according to new VOZ 2024 Total TV Viewing Summary by OzTAM.

The 2024 VOZ Total TV Viewing Summary provides key insights into Australian free-to-air Total TV consumption, unpacking the billions of minutes of broadcast content viewed across broadcast TV and BVOD each week.

The data revealed Australians watched 15.704 billion minutes of content on average each week in 2024, with Broadcast Video on Demand (BVOD) accounting for 12% of total network viewing, primarily via connected TVs.

It found that each week, seven in 10 Australians (72%) were reached by broadcast TV or BVOD, VOZ data shows, with viewing exclusively to BVOD content adding more than 10% reach on average.

Exclusive BVOD viewing accounted for 15% of total TV content consumption in an average week in 2024. Leading the charge for BVOD consumption are Gen X and Millennials, while people under 55 making up half of the total BVOD viewership numbers last year.

Global brand and communications agency Jack Taylor has appointed Judy Turchin as chief executive officer.

Turchin will lead the agency’s global operations, drive ongoing strategic growth in existing and new geographic markets, and develop new capabilities, diversifying and enhancing the agency’s scope of expertise and services. She will work alongside Jon Bier, founder of Jack Taylor, to cultivate partnerships with mission-aligned brands and influential voices.

Turchin joins the agency with more than 25 years of leadership experience spanning consumer health, wellness retail, real estate, and financial services.

She was the former chief operating officer at Equinox, a lifestyle brand and health and wellness business, she scaled the company to over 100 locations worldwide, overseeing operations of over 10,000 employees, a large sales team, and a leading personal training and coaching business.

Prior to Equinox, Turchin held senior roles at Blackstone, serving as chief administrative officer and chief compliance officer for its real estate group. During her tenure, Blackstone’s real estate assets grew tenfold as the group expanded its footprint and product offerings. Turchin began her career practising real estate law at Wachtell, Lipton, Rosen & Katz before transitioning to Chief Legal Officer at Lehman Brother’s Real Estate Private Equity division.

With Turchin’s demonstrated history of commitment to people and company culture, she will also continue to foster collaboration and creativity across a team of experts in strategy, brand, communications, thought leadership, affiliate marketing, and influencer management.

Bier will continue as agency Founder, serving as its creative force and driving big-picture strategy. He said: “Jack Taylor was founded on the belief that relentless entrepreneurial hustle combined with creative storytelling drives meaningful awareness and impact for innovative brands. We are entering a golden era for our truth and this is now a massive movement.

“Bringing Judy on board is like adding rocket fuel to what we’ve already built. She’s a powerhouse—her leadership, strategic vision, and industry expertise make her the perfect fit to help us level up while staying true to who we are at our core.”

Turchin said: “We’re in a transformative moment for health and wellness, and Jack Taylor is leading the charge—elevating brands redefining how people live.

“As someone deeply passionate about creating positive change, I see this as an opportunity to build something truly special. Jon and I have known each other for years, and I’ve always admired the agency’s ability to blend sharp strategy with authenticity and passion. I’m excited to help expand that vision, working alongside this incredible team to broaden our impact, evolve our services, and continue championing brands at the forefront of health and well-being.”

Turchin’s appointment follows a milestone year where the firm grew by more than 50%, expanding its U.S. team as well as formally entering into the Australian and Middle East markets.

Jack Taylor, founded in 2010, has established itself as a leader working with pioneering clients that are carving out a space in cultural discussions and empowering people to live their best lives.

The agency is headquartered in New York City and serves partners in the United States, Canada, the United Kingdom, Europe, Australia, and the Middle East. Its portfolio includes notable brands like Athletic Brewing, Eight Sleep, Hyperice, IM8, [solidcore], Tonal, and WHOOP.

Top image: Judy Turchin

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MFA’s flagship event, MFA EX, returns under the theme – Dare to Change – which builds on the industry’s collective purpose of We Are The Changers.

The dual-city event will begin in Melbourne on Thursday, 4 September, at the Melbourne Convention & Exhibition Centre, followed by Sydney on Thursday, 18 September, at Royal Randwick Racecourse.

More than 2,500 attendees are expected with the event dedicated to showcasing the power of media to drive meaningful change and uniting the industry in a collaborative, non-competitive setting.

MFA member agencies are invited to submit session proposals that challenge, educate, and inspire the industry to embrace change across three key pillars:

• Dare to evolve media agency product and craft
• Dare to progress our people
• Dare to create a better world

The deadline for session proposals is 4 April, with all content to be assessed and selected by the MFA EX 2025 curators: WPP chief strategy officer Katie Rigg-Smith, Tumbleturn Media partner Dan Johns, Bare Feat founder Chloe Hooper, Leadership Team Coach Rob Pyne and Google ANZ media lead Philippa Moig.

The goal of MFA EX is to challenge the industry to rethink our reality and help change society for the better by exploring topics from AI transformation and radically progressive media practices to new-world business models and harnessing media creativity to invent new possibilities.

Top CMOs will also take to the stage to share their most pressing challenges – and how media agencies can play a pivotal role in driving meaningful change for brands, customers and society.

As an MFA EX curator, Moig said: “Collaboration is truly in the DNA of our industry, and last year, some of the most engaging sessions came from those unexpected partnerships – agencies and media owners joining forces to reimagine the future of media.

“We’d love to see even more of that this year! Think beyond your team, beyond your agency. Whether it’s cross-agency collaboration or teaming up with a media partner, let’s create experiences that not only inform but also inspire. Because while people might not recall every word spoken, they’ll always remember how we made them feel.”

MFA CEO Sophie Madden added: “MFA EX is the only event that unites the entire media agency industry on such a grand scale, bringing together 2,500+ professionals in a collaborative, non-competitive environment. It’s a unique opportunity to push boundaries, embrace revolutionary ideas, and drive progress for our collective industry and for society. I can’t wait to see the inspiring and thought-provoking ideas our industry will bring to the table.”

Agencies in Sydney and Melbourne will once again participate in an agency shutdown on the day of their respective events, to enable everyone to attend.

Sponsors so far confirmed for the 2025 MFA EX and MFA Awards are:
Grand Prix: Seven
Platinum: Meta, SBS
Gold: OzTAM, Pinterest, YouTube
Silver: Nielsen

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BBC Studios and the ABC have renewed their long-standing partnership through a substantial multi-year agreement covering key titles in drama, comedy, children’s and entertainment. The deal ensures Australian audiences continue to enjoy many of the UK’s best-loved shows across ABC channels and its streaming service, ABC iview.

Under the renewed agreement, ABC will premiere popular returning series including the third and fourth seasons of Alan Carr’s coming-of-age drama Changing Ends and the forthcoming stand-up showcase Live At the Apollo. In the children’s segment, ABC will debut several first-run shows for the first time, such as the beloved Hey Duggee, Andy’s Global Adventures featuring British kid’s presenter Andy Day, along with new series of Supertato, Deadly 60, and Horrible Histories.

Director of content partnerships and sales, Deborah Tod, said: “We’re proud to have such a long-standing partnership with the ABC, founded on our common public service sensibilities, that has helped drive the growth of both our businesses over many years. Our relationship has evolved as the industry changes, but what has remained unchanged is how our content continues to resonate with Australian audiences.”

The partnership also secures ongoing access to second-run content from highly popular series including Death in Paradise, Beyond Paradise, Call The Midwife, Silent Witness, Father Brown, Antiques Roadshow, and The Cleaner. Additionally, ABC is set to premiere the sixth season of the cold case crime series Unforgotten and the second series of Nottinghamshire-based crime drama Sherwood.

In a notable addition, the broadcaster will also launch a re-imagined version of the iconic Walking With Dinosaurs in Australia. The series promises to take viewers on a journey back in time by combining cutting-edge visual effects with the latest scientific insights to explore the dramatic stories of six individual dinosaurs.

Head of acquisitions, Dallas Krueger, said: “I’m thrilled that ABC audiences of all ages will be treated to a great line-up of continuing favourites and thrilling new launches such as the highly anticipated Walking with Dinosaurs series. This deal between the ABC and BBC Studios reflects our long-standing collaboration and I look forward to achieving more success together.”

This comprehensive agreement highlights both parties’ commitment to delivering premium international content to Australian audiences while reinforcing ABC’s position as a key player in the competitive trade and advertising landscape.

ABC head programming, acquisitions and streaming, Roberta Allan, said: “The renewal of our long-standing relationship with BBC Studios ensures that so many beloved British drama, comedy, children’s and entertainment titles are available to Australian audiences across ABC channels and ABC iview. We look forward to continuing this incredibly exciting partnership.”

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Sebastian Revell has joined Emotive to lead the independent agency’s strategic offering.

Revell will be part of the senior leadership team to help drive Emotive’s vision of creating ideas that change the way people feel. He is also charged with evolving the agency’s data, research and effectiveness capabilities to meet this ambition.

He joins from TBWA, where he was head of strategy. He was most recently leading the agency’s strategic direction on Tourism New Zealand, mycar Tyre & Auto, AWS and Apple. As well as overseeing the output of the strategy department’s cross-disciplinary team, including brand, creative, earned, social and connections strategy.

Revell boasts a 15-year career that has spanned both media and creative agency roles in Australia and the UK, as well as a stint client-side. He is also a respected industry mentor, facilitating AdSchool’s Strategic Planning courses for the last 3 years.

Simon Joyce, Emotive founder and CEO, welcomed Revell’s appointment and said: “We’re coming off our best creative year yet in 2024, and are excited to keep that momentum rolling.

“Bringing in a gun strategic leader in Seb whose expertise spans brand, creative, connections, earned and social/digital, evolves our strategy offering to meet an ever-changing comms landscape. Just as importantly, I can’t wait to see the impact Seb will have on our creative culture as we continue building Emotive into the best place to work, to do the best work of your life.”

Revell said of his new role: “Exploring and maximising an idea so that none of it is left on the table, is where we’re consistently seeing the biggest creative impact being made. This is fuelled by both collaborative relationships and a deep understanding of culture and channels.

“I’ve always admired Emotive’s independent spirit and creativity from afar, so learning that they share the same perspective, made this an opportunity to jump at. I’m looking forward to collaborating with the talent at Coogee HQ to supercharge the power of distinctive and connected ideas.”

Joyce also added: “Seb’s appointment marks an exciting influx of talent for Emotive with a soon to be announced Head of Earned Creative and Head of Partnership bolstering Emotive’s fame offering.”

Top image: Sebastian Revell

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JCDecaux has launched its new brand positioning – Be Seen. Be Remembered – reinforcing its focus on making Out-of-Home advertising work harder for brands by driving real business outcomes.

“Out-of-Home has always been recognised for its scale and visibility. The question is not whether Out-of-Home works – it does,” said Essie Wake, chief marketing officer of JCDecaux Australia & New Zealand.

“But we know true effectiveness requires more than just being seen. Through our research and experience, we’ve identified four key drivers that transform campaign performance: portfolio quality, creative impact, sophisticated planning, and meaningful measurement. Be Seen. Be Remembered. is our commitment to helping brands maximise all these elements to create lasting impact.”

JCDecaux’s new research with System1 highlights the importance of Out-of-Home creative effectiveness. Findings show that 50% of Out-of-Home exposure results in no brand recognition, and among those that do, half do not create enough emotional engagement to influence behaviour.

Max Eburne, co-CEO of JCDecaux Australia & New Zealand, said: “True effectiveness comes from creative impact, planning precision, and accountability. Our new research with System1 shows that when campaigns achieve clear branding and strong emotional connections, their commercial impact doubles. As Out-of- Home continues its strong growth, outperforming digital in a challenging market, ensuring effectiveness is more important than ever for our clients.”

Dave Watkins co-CEO, JCDecaux Australia & New Zealand added: “Our focus is on helping brands unlock the full potential of Out-of-Home. By optimising every campaign through testing, learning, and collaboration, we’re ensuring campaigns don’t just exist in the public space but actively engage audiences and drive results.”

Developed in partnership with Howatson+Co, Be Seen. Be Remembered. captures what makes Out-of-Home effective – visibility that leads to action.

“The time has come to think of Out- of-Home as the foundation channel for some campaigns. Be Seen. Be Remembered. captures this evolution with striking simplicity,” Chris Howatson, founder of Howatson+Co, said.

“It’s both a statement of intent and a clear framework for effectiveness. JCDecaux has always shaped public spaces with impactful advertising; now they’re shaping how we think about Out-of-Home’s role in the media mix.”

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A deep, persistent lack of understanding about how personal data is used among Australians is proving to be a major challenge for brands and agencies trying to build trust in digital advertising, according to Yahoo and Magna research.

The study, which surveyed over 1,200 Australians, found that despite increasing concerns over online privacy, consumers remain unaware of their rights, responsibilities and the mechanisms behind ad personalisation, causing resistance to targeting tactics.

Only 14% of Australians were found to believe they have adequate resources to protect their personal data online, leaving 86% unsure or unprotected. Meanwhile, 74% of consumers don’t realise they can opt out of data collection on media and shopping platforms, suggesting that data control remains a mystery for many.

The report found that while 53% of Australians cite hacking as their biggest online privacy concern, only 1% are concerned about personalised advertising – highlighting an overall comfort with data used for tailored experiences.

It also found less than a third of Australians understand that advertisers and agencies do not have direct access to their data, reinforcing the massive gap in education. The findings also revealed that when data usage is explained properly, approval for personalised ads jumps 88%, proving that transparency can shift attitudes significantly.

The widespread confusion is causing consumers to rely on protection from Government regulations. More than 80% believe Australia’s privacy laws are effective, despite just 10% saying they are familiar with the details of the Privacy Act.

“Data privacy and targeted advertising have been hot topics for years, yet many Australians still don’t fully understand how their data is used or who is responsible for protecting it,” Dan Richardson, director of data and insights at Yahoo AUSEA, said.

“This isn’t just an awareness issue – it’s a trust issue. If we don’t bridge this gap, we risk losing consumer confidence, leading to stricter policies and less effective advertising.

“The good news is that when people understand data use, their attitudes shift. This research makes it clear – transparency and education are key to building trust and keeping personalisation effective for brands and audiences alike,” he added.

Lucy Formosa Morgan, managing director at Magna, added: “This data reveals a major disconnect. While consumers enjoy personalised experiences, they don’t understand how data powers them – and that’s a problem. If people don’t trust the ecosystem, they will push back against targeted advertising, and potentially the brands in question, making it harder for brands to connect with their audiences in meaningful ways.

“As an industry, we need to do better at explaining data usage in a clear, honest and accessible way. If we fail to educate, we fail to build trust – and without trust, digital advertising loses its effectiveness.”

As digital experiences become more personalised, education and transparency will be critical in building consumer trust. Yahoo DSP is committed to helping the industry bridge this gap by exploring strategies that ensure advertising is effective, connects authentically with audiences and upholds ethical and regulatory standards.

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nib has used digital billboards to help with vital medical research in its latest OOH campaign via Dentsu Creative.

With most digital billboards using only half of their CPU’s processing power, the health brand nib and creative agency partnered with Folding@home and Alliance Outdoor to put that remaining 50% to work.

Developed at the University of Pennsylvania, Folding@home is a computer program that helps scientists develop new therapeutic treatments. The program is available to download for anyone who wants to take part and simply runs in the background on volunteers’ home computers, crunching data while they use other programs.

nib worked with Dentsu Creative and media partners to load the Folding@home program onto the computers found inside digital billboards. The program will use the billboards’ spare processing power to run medical simulations for cancer and Alzheimer’s research, feeding the results back to scientists in America.

This wider rollout follows a trial in November, in which the program was loaded onto two billboards in Sydney and Melbourne with support from Alliance Outdoor and its preferred signage partner, Visual Exposure.

This is the first time Folding@home has partnered with an Australian brand and its first partnership with a health insurer.

“We want Australians to realise their potential when it comes to health and wellbeing,” Chris Donald, head of marketing and digital at nib, said. “Leveraging the unrealised potential in the computing power behind our advertising was a novel way to bring this to life.’

Greg Bowman, professor at University of Pennsylvania, said: “We’re thrilled to be working with nib. Using billboards to run medical simulations is something that has never been done before, so we’re very excited to see where this goes.”

Mollie Clyma of Alliance Outdoor, added: “We’ve loved working with Folding@Home, nib, Dentsu Creative and of course EssenceMediacom for the nib campaign, and look forward to tracking the performance of this technology and how it can continue to evolve partnerships for us in the future.”

This project comes off the back of nib and Dentsu Creative’s “Potentially amazing” campaign, which launched on September 1st.

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MultiConnexions has appointed Alastair Love as marketing director. Based in Melbourne, Love will drive the agency’s next phase of growth by forging strategic partnerships and expanding its presence in the Victorian market, with a targeted focus on government and corporate sectors.

The company says the move reinforces MultiConnexions’s commitment to delivering tailored marketing solutions in an increasingly competitive trade landscape.

MultiConnexions CEO Sheba Nandkeolyar said: “With almost a third of Victorians born overseas, Victoria has enormous potential for multicultural communications. Alastair’s track record in driving agency growth and the transition from a transactional service provider to a trusted strategic partner aligns perfectly with our long-term
growth strategy.

“As we enter our 15th year of operations as an independent agency, we remain committed to helping organisations communicate authentically with diverse communities in Victoria and around the country,” she said.

Love joins MultiConnexions with extensive experience in expanding marketing and communications agencies through strategic partnerships and government engagement. The agency says his appointment underscores its commitment to leveraging its multicultural communications expertise as it targets growth in Victoria’s diverse market, reinforcing its position in the competitive trade and advertising landscape.

“Victoria’s increasing focus on multicultural engagement creates an exciting opportunity,” Love said. “I look forward to helping organisations connect meaningfully with diverse communities through MultiConnexions expertise”.

Love joins the national MultiConnexions leadership team, reinforcing the agency’s commitment to diverse, inclusive marketing communications and advancing industry best practices.

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SBS, in partnership with Beyond Productions, has announced that emerging popstar and viral sensation Go-Jo will represent Australia at the 69th Eurovision Song Contest in Basel, Switzerland.

The broadcaster’s decision underscores a commitment to showcasing innovative talent on an international stage.

Go-Jo, the solo project of Marty Zambotto, brings a distinctive blend of energy and unpredictability to his performances – demonstrated by his ability to play guitar while unicycling.

His hit single “Mrs. Hollywood” has achieved over 60 million digital streams and one billion views across platforms, and it all began when a TikTok clip of him performing the single on Bondi Beach caught fire in America.

Speaking about his selection, Zambotto said: “It’s an absolute dream come true to represent such a beautiful and diverse nation, and I’ve never been more excited to share my art and vision with the incredible Eurovision fans around the world!”

The decision by the SBS to go with Zambotto instead of a more recognisable pop act or previous Australia Decides nominee highlights the broadcasters aim at capturing a next-generation audience.

The music video for Milkshake Man was directed by Josh Harris – known for his work with Sheppard, Peach PRC, and Mia Rodriguez.

SBS head of entertainment, Emily Griggs, said: “To mark 10 years of Australia participating in Eurovision, we wanted to do something that was out of the box! SBS is beyond excited to introduce Go-Jo to the Eurovision stage with his infectious song, Milkshake Man – a track that’ll have you dancing and humming non-stop!

“His vibrant energy, undeniable passion, and collaboration with Sheppard make this entry truly special. Watching Go-Jo live was unforgettable and the crowd were so involved. Europe won’t be able to resist falling for him.”

Meanwhile, Australia’s creative director for Basel, Paul Clarke said: “From the first moment we saw Go-Jo on stage, we realised he had a unique connection with audiences, and we know he’ll get a lot of love from the Eurovision community. We’re thrilled with this track from Go-Jo and the legendary Sheppard songwriting team.”

Released by Chugg Music and Rix Records, Milkshake Man was written by Go-Jo alongside members of Australian pop band, Sheppard; George Sheppard, Amy Sheppard and Jason Bovino.

Switzerland’s Nemo clinched the 2024 Eurovision title in Malmö with their innovative hit “The Code,” reinforcing the contest’s reputation for groundbreaking creative storytelling and global influence.

This year also marks 10 years of Australia’s Eurovision journey – from Guy Sebastian’s 2015 debut with “Tonight Again” to Electric Fields’ recent standout, “One Milkali (One Blood),” showcasing the evolution of local talent on the international stage.

The Eurovision Song Contest is held from Tuesday 13 May – Saturday 17 May 2025 in Basel, Switzerland (CEST) with SBS’s exclusive broadcast LIVE and in prime time from Wednesday 14 May – Sunday 18 May on SBS and SBS On Demand. Further details of SBS’s broadcast will follow soon.

Stay tuned to the SBS Eurovision website for updates.

Pictured: Go-Jo

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