Disney+ has officially added ESPN to its Australian streaming lineup, unlocking live access to premium US sports, Fight Nights, and every single NHL game for the first time on the platform.

From today, subscribers will be able to stream a lineup of sporting content from ESPN and ESPN2, marking the first time Disney has integrated live sports into its flagship streaming service in Australia.

During a press briefing this week, Disney+ executives outlined the depth of content now available to subscribers and its significance in Disney’s broader streaming strategy.

“We’re already the most widely distributed sports network in Australia,” said Patrick Bour, director of television and marketing, Australia and New Zealand, ESPN. “But this adds a really significant new audience who will have access to ESPN for the first time… it means we’re in more Australian households than ever before.”

What sports are included?

Sports fans can expect:

• NBA: 236 regular season games per year (around 7–9 per week), plus every game of the Playoffs, Conference Finals, and NBA Finals.
• MLB: Roughly seven games per week.
• UFC: Every Fight Night (both prelims and main card), as well as pay-per-view prelim events.
• NHL: Every single NHL game of the season, a major win for Australian fans, with all games now accessible via Disney+.

Bour confirmed that while UFC pay-per-view main cards will not be available due to exclusive rights held by Foxtel, fans will still have access to all other UFC content through the platform.

In a major content coup, almost the entire 30 for 30 documentary catalogue will also be available at launch, with 120 titles currently cleared and more to come.

No ad-supported tier..yet

Disney+ in Australia will not have a dedicated sports tier or standalone pricing. ESPN content will be integrated into existing profiles and accessible to all subscribers, with no additional costs for live sports content. While some ESPN content includes advertising, such as betting ads during live broadcasts, Disney+ confirmed there are no plans to introduce a wider ad-supported tier in the Australian market at this stage.

“There’s certainly some betting advertising in our ESPN feeds, so as a result it will appear,” said Kylie Watson-Wheeler, senior vice president and managing director of The Walt Disney Company Australia and New Zealand, and head of Asia Pacific. “But we’re not proactively seeking advertising across the broader Disney+ platform.”

The new ESPN hub on Disney+ includes live ESPN and ESPN2 channels.

A complementary approach, not a replacement for Foxtel

The Disney+ team was also clear that ESPN’s launch on the platform doesn’t mean an end to its longstanding distribution deals with Foxtel, Kayo or Fetch.

“We’re in negotiation with Foxtel right now,” said Watson-Wheeler. “This is an additive strategy, not a replacement. It’s about expanding our reach to new fans and a broader audience.”

Asked whether ESPN would look to secure Tier 1 Australian sports like NRL or AFL, Bour added that they would be open to it “if the circumstances and value are right.”

“We’ve been very targeted in the sports we’ve added. We know our audience and we’re focused on US sports where we’re already strong. That said, would we love to have a Tier 1 Australian sport? Absolutely. But the right opportunity hasn’t presented itself yet.”

Currently, ESPN’s focus remains on being “the home of US sports and the home of hoops,” Watson-Wheeler said.

A strategic play for engagement

Kurt Brockett, vice president, product management for Disney+, called the launch a “game changer,” highlighting the role of live sport in driving daily engagement.

“When someone sits down and wants to watch something, a lot of the time it’s a live sporting event, it’s appointment viewing,” he said. “We’ve seen that be increasingly important for engagement and frequency.”

With live sport now sitting alongside blockbuster titles from Marvel, Star Wars, Pixar, National Geographic and Disney, the launch could redefine how Australians interact with streaming.

As Watson-Wheeler put it: “The opportunity for our audiences to watch a big movie, then tune into an NBA game, that’s pretty special.”

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Warner Bros. Discovery (WBD) has launched its All Killer, No Filler campaign ahead of the launch of its premier new streaming service, Max, on Monday 31 March, 2025.

The centrepiece of its campaign is its TVC ad, which pokes fun at the current over saturation of streaming products available.

Sasha Mackie, Warner Bros. Discovery’s senior director, marketing, took to LinkedIn to praise the team behind the campaign writing: “Launching Max in Australia is a defining moment – I’m extremely proud of this campaign, the world-class work behind it, and the team that made it happen. The partnerships and relationships built along the way have been just as important as the creative itself”.

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.

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.

Agency credits:

Creative Agency: Special

Media Agency: EssenceMediacom

Social Agency: Present Company

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Bruna Papandrea, the powerhouse Australian producer behind Big Little Lies, The Undoing, and The Lost Flowers of Alice Hart, is back with another adaptation of Liane Moriarty’s work, this time with The Last Anniversary, produced under her Made Up Stories banner.

It marks Papandrea’s sixth screen project based on Moriarty’s books, a creative partnership that continues to deliver internationally resonant stories.

“The consistent thing is Liane, right?” Papandrea told Mediaweek.

“She brilliantly balances mystery, human emotion and heart. Even when the subject matter is heavy, there’s always lightness. She sees the small details, the humour, that tonal balance is in everything she writes.”

The six-part series, co-produced with Nicole Kidman and Per Saari’s Blossom Films, features a central mystery that eats away at a family across generations. Directed by John Polson, and released across Foxtel and BINGE, the production has a unified creative voice, something Papandrea insists is vital. “I’m not a big fan of too many voices in anything, whether a novel, TV show or film. We’ve always made our TV shows like movies, hopefully that sets them apart.”

A still from The Last Anniversary

Complex characters and hidden truths

At the heart of Papandrea’s storytelling ethos is a desire to portray women who aren’t confined by stereotypes.

“What I’m always interested in is portraying someone who you think you know, and then you get surprised,” she says. “Big Little Lies, obviously, is the classic example of that and proves all the glitters is not gold. There’s so much going on beneath the surface, and that’s something that does interest me.”

Papandrea says she is also drawn to characters with hidden depths, especially females, as she believes “men get to show their darkness, but women want that too, they don’t just want happy families because that’s just not what the world is”.

While The Last Anniversary explores secrets, lies and emotional complexity, Papandrea says optimism remains essential.

“I don’t like things to be unremitting, especially at the end. The Lost Flowers of Alice Hart is a good example, we tackled some really heavy themes, but with hope.”

The power of place

Moriarty’s evocative landscapes play a crucial role in her storytelling.

“John and I were talking about how disappointed people will be when they learn that Scribbly Gum (where The Last Anniversary is set) doesn’t exist,” Papandrea reveals.

“When you take something like Big Little Lies, which was filmed in Monterey, people go to Monterey. Then there was Nine Perfect Strangers, which was filmed at a retreat in Byron Bay and has now become a tourist attraction. With this one though, they’re going to be disappointed.”

She clarifies that Scribbly Gum is an amalgamation of real locations such as Dangar Island, and while fans won’t be able to go to the real place, Papandrea believes a trip to Hawkesbury River will give them “a sense of the place.”

A still from The Last Anniversary featuring actress Teresa Palmer on the Hawksbury River

Working local, thinking global

Papandrea acknowledges the changing global landscape of streaming and its impact on Australian productions.

“I make jokes because kids watch everything on closed caption now. So, if Australia was ever a barrier because of the language, even though we speak English, but it is still weirdly, a barrier, it’s now become less so. Plus the world has become much more open to stuff from other countries.”

Despite the recent success of homegrown productions, such as the 2022 horror film Talk to Me, Bluey (ABC) and Last King of the Cross (Paramount +), Papandrea admits some Australians are restrained when it comes to sharing their creative ideas.

Nicole Kidman, Liane Moriarty, Reese Witherspoon, and Bruna Papandrea

“I think we do have a bit of a Tall Poppy thing, let’s be honest. But I want to see Australians out there amplifying and celebrating their stories.”

It is that attitude Papandrea says, that has made her passionate about championing Australian talent.

“I am a big fan of amplifying other people’s work, like, I am such a fan girl of other people’s work. And I want more people to do that. We should all be out there talking about other stuff that we love because there are so many Australians punching above their way, there’s so much great stuff. My friends made Fake last year, which I absolutely loved, and then of course, Colin from Accounts.”

Having worked extensively in both the US and back home, the Adelaide-born Papandrea says she still revels in the unique dynamic of working with Australian crews.

“I think Americans might have a slightly bigger tolerance, maybe because they’ve had to endure bigger personalities for years, but with Australians, you don’t get away with anything,” she laughed before adding “they don’t care who you are, whether you’re a movie star or not. You don’t want to misbehave with an Australian crew because they will set you straight, which I like.”

Full disclosure: I was so nervous while interviewing Papandrea, a woman whose work I adore, that I stumbled and nearly burst into tears mere seconds into the chat. I then admitted: “I’m sorry, I’m just so nervous”. Instead of admonishing or belittling or throwing out a cheap quip, Papandrea let out a warm laugh, very quickly allowing the conversation to move and develop into that comfortable and familiar feeling she is so skilled at bringing to her work.

Pictured: Bruna Papandrea

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VMO has partnered with Yahoo DSP to launch OmniStream, a product designed to extend connected TV (CTV) campaigns into high-impact digital out-of-home (DOOH) environments.

Powered by Yahoo’s omnichannel DSP, OmniStream gives advertisers the ability to maintain audience reach and messaging consistency across both personal and public screens, streamlining buys and expanding the creative canvas.

The integration allows Yahoo’s CTV buyers to activate campaigns across VMO Active, Australia’s largest health and wellness media network spanning over 1,100 gym locations, and VMO On-The-Go, a retail-convenience network present in more than 1,200 petrol and convenience venues including Reddy Express and BP.

Both environments feature AV-enabled screens that bring motion, sound and messaging to consumers during high-dwell or high-intent moments.

New tools, broader reach

Sabarish Chirakkal, director of programmatic at VMO, said the launch of OmniStream was a milestone in merging the scale of AV DOOH with the targeting precision of programmatic video: “This collaboration represents a significant opportunity to extend audience reach by bridging the power of CTV with the unparalleled impact of AV DOOH assets… Combining CTV with DOOH allows us to offer advertisers a seamless and more effective way to amplify their message.”

Omnichannel minus the friction

From Yahoo’s side, the focus is on making cross-channel execution smarter and more measurable.

“Audiences don’t experience media in silos, so advertisers shouldn’t have to buy it that way either,” said Keren Homan, head of strategy at Yahoo DSP in Australia. “Working with VMO, we’re making that a reality in a way that’s simple, scalable, and measurable.”

Place-based impact

VMO managing director Paul Butler framed the partnership as a natural evolution of how modern campaigns are built to meet audiences wherever they are: “What sets this partnership apart is the extensive scale of our Active and On-The-Go channels, two high dwell environments with AV formats that are proven to engage audiences effectively. We’re always innovating and seeking new ways to reshape how brands approach their media strategies.”

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Initiative has been appointed as the media agency of record for Aspen Pharmacare Australia, overseeing its brand portfolio of well-known consumer healthcare brands such as Maltofer, Coloxyl, Ural and Dymadon.

The media agency’s remit includes all media buying, planning and strategy, as the healthcare company seeks to grow its market leading position in a highly competitive and regulated market.

Jo McAlister, CEO Initiative said Aspen Australia’s entrepreneurial spirit aligns perfectly with Initiative’s culture and people and already the collaboration between the teams is evident.

“Aspen Pharmacare operates with a core mantra to provide all Australians with access to a great range of high-quality healthcare products.  We are motivated to utilise our industry-leading tools to create new thinking and develop effective campaigns that are a cut above their competitors and will help the company achieve its growth goals.”

She added: “We look forward to elevating the company as it enters a new evolution of growth.”

Alison Holland, head of consumer OTC at Aspen Pharmacare, said: “We are thrilled to partner with Initiative to enhance our consumer engagement and drive impactful connections in the healthcare space. This collaboration aligns with our commitment to delivering innovative, patient-centric solutions through strategic and data-driven media approaches.

“We look forward to exciting times ahead as Aspen Pharmacare benefits from the fresh, exciting media thinking Initiative is renowned for,” she concluded.

The transition is already underway with the partnership live from April 1. The first work will be in market Q3.

This win for Initiative comes after it was recently appointed as agency of record for Netflix Australia, alongside Amplify as lead creative agency. The agency was also handed Volvo’s media account earlier this year after 25 years with incumbent WPP’s Mindshare earlier this year.

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Listen here

The Nightly’s Editor-in-Chief Chris Dore, has given a rare and unique insight into what he believes has been the key to the publication’s readership boom.

The brand is something of an overnight success story, literally, going from zero to more than three million monthly readers in just over a year.

Speaking on the podcast, Mediaweek Present: The Nightly – Inside Its Successful Breakout Year, Dore said he believed it was the publication success was sealed from its debut.

“I think the key to any launch of a product is, you know, impact. We really went for that from day one,” Dore told the podcast.

The podcast also features ThinkNewsBrands CEO Vanessa Lyons and Roy Morgan CEO Michele Levine, who offer their take on the publication’s success, along with how the upcoming federal election means for media brands as a whole.

Listen here

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Tony Quarmby has departed Tourism NT after seven years with the tourism body as chief marketing officer.

A spokesperson said in a statement: “After seven years successful years leading the destination marketing function of Tourism NT, Tony Quarmby has left the business to seek new challenges and opportunities.

“This provides a new phase for tourism in the Northern Territory and an opportunity to refresh it’s approach to marketing the destination.”

He joined the organisation in 2012 as director of domestic operations, oversaw planning and implementing the marketing operations to drive Australian visitation, global brand awareness, and growth in industry yield and sentiment.

Quarmby then moved to director of consumer marketing at Tourism Tasmania for just over a year, where he was charged with the development and implementation of all consumer-focused elements of Tourism Tasmania’s marketing strategy and plans.

Quarmby returned to Tourism NT as chief marketing officer. Under his leadership, the organisation underwent platform and logo rebranding including the introduction of the 2021  ‘Seek Different’ brand line.

Tourism NT also had local celebrities such as Abbie Chatfield and Poh Ling Yeow take part in campaigns, which leveraged pop culture moments. The tourism body also played an integral role in the recent launch of Netflix’s Territory series.

At the end of last year, Quarmby was ranked ninth among Australia’s top 10 prolific chief marketing officers, according to Streem. He had with 113 mentions and his media coverage was bolstered by Netflix’s Territory series and related advertising campaigns, as well as a collaboration with Bonds Pride.

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By Kathryn Williams, founder and CEO of KMint

There aren’t many things in agencies today that are the same as the pre-COVID times – but one thing that is across far too many agencies is their rate cards. And with costs having risen so dramatically it’s little wonder so many are struggling to make ends meet.

Inflation, talent shortages and escalating salaries have piled on the pressure, yet agencies remain hesitant to ask clients for more money. Why? Because they’re scared. Scared of losing business, of rocking the boat and, quite simply, of having difficult conversations.

But this fear is unsustainable. Agencies are businesses and businesses need to be profitable to survive. The problem is, many agency leaders see themselves as skilled craftspeople at heart and perhaps aren’t equipped with the financial literacy or strategic approach to confidently reassess and adjust their pricing. It’s time for that to change.

Kathryn Williams

The pricing stalemate

One of the things I have noticed in my work with agencies is that many still operate on an outdated hourly rate model – usually one that hasn’t been adjusted in years.

In the meantime, operating costs have skyrocketed. Agencies were forced to increase salaries during the talent crunch caused by COVID, particularly when international workers left the market. Now, as borders reopen and the talent pool expands, salaries remain high but the landscape no longer reflects that demand. It means agencies are reluctant to charge accordingly.

The result? Agencies are at risk of eroding their own margins, end up running on fumes and scraping the bottom of working capital just to stay afloat. And when clients, still cautious in their budgets, decide to delay spending, agencies may find themselves in a precarious position where they are unable to forecast, unwilling to act and paralysed by financial anxiety.

If you’re the owner of an independent agency, that anxiety can be very real – I know far too many great people who have had multiple restless nights worried about whether they’ll be able to make payroll this month. It has a huge knock-on effect on their life outside of work as well.

At its core, this issue isn’t just about numbers; it’s about confidence. Many agency leaders struggle with pricing conversations, fearing client pushback or rejection. They assume that if they ask for more, clients will walk away. But this assumption is flawed. Pricing isn’t a static transaction; it’s a negotiation.

Think of it this way – if agencies approached pricing with the same strategic thinking they apply to client campaigns, they’d be in a much stronger position. Yet, most don’t. Instead, they leave rate adjustments to the finance team, which simply run the numbers and apply an increase. No conversation, no strategy, no justification.

This is where I see the opportunity for agency leaders.

Kathryn Williams: ‘Pricing is not a passive exercise. It’s an active, ongoing strategy that needs regular attention.’

Implementing a strategic approach to pricing

Agencies need to stop treating pricing as an afterthought and start treating it as a core business function. That means dedicating proper time and resources to developing a pricing model that reflects their value, market position and cost structure.

Here’s what I would recommend:

• Make pricing a business priority – Just like any major client campaign, pricing should have a strategy behind it. Agencies should hold dedicated pricing strategy meetings – ideally, a half-day session involving all key stakeholders. I would encourage leaders to ensure pricing isn’t just a finance team task; it’s a leadership discussion that impacts every aspect of the business;
• Educate your team – Agency staff, from juniors to senior leadership, need to understand how pricing works. Why do rates need to change? What factors influence pricing? How does it impact profitability? When employees understand the business mechanics, they can make smarter decisions and even identify overlooked revenue opportunities;
• Benchmark and justify increases – Agencies should know where they stand in the market. Are they premium? Specialised? Commoditised? Understanding industry benchmarks helps frame the conversation with clients. If you’re delivering premium work, your pricing should reflect that. Agencies (meaning, their whole team) should be able to articulate their unique value proposition and be able to justify their rates with confidence;
• Diversify pricing models – The hourly rate model has its place but it’s not the only option, especially in an era where AI is potentially cutting huge chunks of time out of tasks. Agencies should explore alternative models, including project-based pricing, retainers, markups, performance-based fees and intellectual property monetisation. A well-rounded approach can create more stability and profitability;
• Train for negotiation – Asking for more money isn’t about making demands – it’s about making a compelling case. Agencies need to train their teams in negotiation techniques, ensuring they can have constructive conversations with clients about pricing without fear. Simply putting out a rate increase with no context is a surefire way to get pushback. Framing it as a value discussion, backed by data, is far more effective.

Failing to address pricing is a ticking time bomb. If agencies don’t start charging what they’re worth, they’ll be forced into cost-cutting measures – letting go of talent, reducing service quality or even shutting down. We’re already seeing this play out in sectors where salaries remain inflated but revenues haven’t caught up.

The irony is that many agencies position themselves as strategic partners to their clients yet they fail to apply that same strategic thinking to their own financial models. The agencies that thrive in the coming years won’t be the ones that keep their rates artificially low to appease clients – they’ll be the ones that confidently charge for their expertise and back it up with results.

The fear of asking for more money is deeply ingrained, but it’s also misplaced. Clients expect rates to rise – every other industry adjusts pricing based on costs and market conditions and agencies should be no different.

Pricing is not a passive exercise. It’s an active, ongoing strategy that needs regular attention. If agencies invest the time and effort into getting it right, they will do more than adapt – they will lead.

So, what’s stopping you?

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Independent agency AFFINITY has announced the promotion of Pete Mountford to the role of creative lead, following a standout year since joining the business in 2024 as senior copywriter.

With more than two decades of experience spanning digital and traditional agencies, including Leo Burnett and R/GA, Mountford has led creative work for major brands such as Telstra, ANZ, Google, and McDonald’s. His work has been recognised at top-tier shows, including the Webbys, Caples, ADMA, and AWARD.

The internal promotion aligns with AFFINITY’s broader commitment to recognising potential, not only in its clients’ businesses but within its own team. As a past AFR Boss Best Places to Work winner, the agency has consistently invested in career growth and development.

AFFINITY CEO Angela Smith said Mountford’s creative leadership and entrepreneurial spirit made him a natural fit for the new role.

“Pete’s creativity, leadership, and entrepreneurial approach will only make our work stronger. He genuinely gets what we’re trying to do here, it’s so much more than outputs and creative awards,” said Smith.

“His drive and ambition have consistently delivered business-growing thinking. There’s a fire in his belly, and with the exciting stuff we have in the works, we know he’ll play a pivotal role in bringing our vision to life.”

Mountford is also a passionate mentor for the next generation of creative talent, having tutored at both AWARD School and ADMA Creative School.

Commenting on his new role, Mountford said, “We have fantastic people, great clients, and a strong reputation for effective work. We’re on an upward trajectory and I’m excited about working with the team to push things even further.”

The promotion comes as AFFINITY continues to position itself as a growth accelerator for brands, bringing together creativity, data, and technology to unlock potential and deliver measurable business outcomes.

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Enigma’s Media division will lead media strategy, planning and buying, including all performance media for independent telecommunications infrastructure company GigaComm. 

The independent full-service agency will take on a challenging brief requiring deep expertise in data, technology, and precision targeting to help drive GigaComm’s growth in the high-speed internet sector.

GigaComm, an innovative telecommunications infrastructure company, is expanding its ultra-fast, reliable, and affordable internet network to more apartments and businesses, reinforcing its mission to build better, more intelligent access networks and connect more people in Australia.

Strategic, data-led media to support ambitious growth

Sally Lawrence, Enigma Media executive director, said: “GigaComm operates in a highly competitive space, and our approach will harness the power of data, smart targeting, and performance-driven media to help influence customer decisions at the right time. We’re thrilled to partner with such an innovative challenger brand and such a lovely team.”

GigaComm is rolling out its technology across Sydney, Melbourne, and Brisbane, delivering gigabit speeds to provide a faster, more reliable alternative to legacy connections. As part of its commitment to bridging the digital divide, GigaComm is also extending its services to low-income households through partnerships with social housing providers. These initiatives give tenants access to high-speed internet at significantly reduced costs, with no installation or equipment fees.

With network builds already underway and more social housing partnerships in progress, GigaComm is committed to ensuring more people in Australia have access to the digital infrastructure needed to stay connected in an increasingly online world.

The GigaComm win reinforces Enigma Media’s strength in delivering strategic, data-driven media solutions that drive measurable business outcomes. It follows the appointments of Justin Ladmore to chief media officer and Amy Dasciano as managing director, Media at Enigma as the Media division continues to grow.

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The Queensland stage is set, with Premier David Crisafulli about to drop the much-anticipated 2032 Olympic and Paralympic Games venue and infrastructure blueprint at The Courier-Mail’s Future Brisbane event.

The event is promising to be more than just a sporting announcement. Instead, organisers are positioning it as  a strategic roadmap for the state’s future, drawing in a who’s who of Australian industry and decision-makers.

The Courier-Mail editor Chris Jones

A defining moment for Brisbane 2032

Held at Howard Smith Wharves and supported by TechnologyOne and the University of Queensland, the event will feature the Premier in conversation with The Courier-Mail editor Chris Jones, followed by a fireside chat with Brisbane 2032 Organising Committee President Andrew Liveris.

A panel hosted by The Sunday Mail editor Melanie Pilling will include key voices such as Deputy Premier Jarrod Bleijie, Brisbane Lord Mayor Adrian Schrinner, Gold Coast Mayor Tom Tate, Brisbane Lions CEO Greg Swann, and Olympic gold medallist Cate Campbell.

Shaping Brisbane’s future

“The Courier-Mail has a long and proud history of advocating for the city’s best interests,” Jones stated.

“The Premier promised at our last Future Brisbane event in November to have a plan for Olympic and Paralympic Games venues within 100 days, and that time is now up.”

Jones emphasised the publication’s commitment to Queensland’s future: “We are incredibly proud of the role we played in championing Brisbane’s Olympic bid. As we look towards 2032, we remain committed to the people of Queensland and focused on solutions for a more liveable and prosperous city.”

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Australian Mentoring Services (AMS) has appointed Claxon as its digital and creative agency of record.

The independent agency remit will oversee the creation of the disability support services organisation’s new brand strategy and visual identity including design of a new and intuitive website, plus ongoing creative as the company scales up for its next evolution of growth.

Jade Axford, chief growth officer, Claxon said the team was delighted to add AMS to its client roster and looked forward to helping the brand achieve its ambition to empower individuals with complex needs and challenging pasts

“Our brief is to reposition AMS as a leader in disability support ensuring the rebrand and its new visual identity truly reflects AMS’s expertise, values and impact.

“AMS is on the cusp of scale-up and growth and the brand identity created when they were in the start-up phase no longer reflects their expertise and commitment. AMS needs to be repositioned as a clear industry leader alongside the biggest players in the industry while maintaining its proud and unique heritage. Claxon’s goal is to build a strong, future-thinking brand that will propel AMS forward in the market and allow them to stand out against the more established providers.”

Tyronne Baena – director, AMS said: “Claxon immediately grasped our objective to reposition ourselves as a leader in the disability services sector by recommending a new, modern visual identity that symbolises inclusivity, support and personalised care, and clearly reinforces AMS’s commitment to empowering our clients.  We are excited to work with the team and launch our new brand and positioning to market soon.”

James Coulson – brand strategy director, Claxon said: “Our comprehensive rebrand strategy will transform AMS’s visual identity, messaging, and digital presence and will create a sophisticated, professional brand that balances warmth, trust, and credibility.

“Our solution will include refining AMS’s brand positioning, value proposition, and messaging to better communicate their expertise to their clients. We will also develop a new visual identity, evolving their colour palette to be more accessible and legible while maintaining a connection to their original brand.

“A key part of our solution will be to design and develop a modern, user-friendly website that speaks directly to AMS’s target audience helping them connect with more people in need of their services while strengthening their reputation in the industry,” Coulson concluded.

The rebrand is already in progress, with the new visual identity set to launch in the market by Q2. This further strengthens Claxon’s impressive client portfolio, which includes Binance, Michelin, Oroton, and Dymocks.

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Gabi Revell and Jarryd Haefele have combined their 22 years in the creative and media industries to launch a new creative agency, Foundry

Revell and Haefele’s new venture aims to bring an innovative and fresh approach to branding and design beyond a typical design agency.

Foundry is the product of years of collaboration, creative risk-taking, and a deep understanding of how design shapes brand identity. While both Revell and Haefele pursued freelance projects independently, their work on large-scale projects in Australia’s competitive media industry forged their decision to unite their talents under one banner.

Gabi Revell

“When you’ve navigated high-stakes projects, you come out with a rare kind of clarity – knowing what works, what doesn’t, and where real value lies. Foundry is our response to that clarity: a place where creativity, strategy, and impact intersect in meaningful ways” Revell, co-founder of Foundry, said.

“Jarryd and I have always recognised the depth of our skills, but the real turning point was realising the impact we could have when working together.”

Foundry offers a full suite of branding and creative services, including brand development, design, copywriting, animation, web design, and development. By assembling a network of top-tier creatives and industry experts, Foundry ensures every project receives the attention it deserves, delivering high-impact, tailor-made solutions for clients.

Operating as a primarily online-first agency, Foundry is headquartered in Melbourne but collaborates with clients globally. This flexible model enables them to sidestep the constraints of a traditional office, reducing overheads and increasing efficiency, while maintaining world-class standards. For clients within Australia who prefer in-person meetings, Foundry offers the option to meet face-to-face when it makes sense for them.

Justin Haefele

“We’re embracing the power of digital collaboration,” Haefele, Foundry co-founder, added. “By leveraging online tools, we seamlessly work across time zones and deliver results that are not limited by geography. Our goal is to make our collaboration as effortless as possible between us and our clients, no matter where they are in the world.”

The creative agency is focused on expanding its client base in 2025, taking on new projects and forging strategic collaborations. With a growing portfolio and a commitment to pushing creative boundaries, Revell and Haefele are poised to make a lasting impact in the branding and design landscape.

Top image: Justin Haefele and Gabi Revell

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The ABC have announced that Bluey’s Big Play, a live action theatrical adaptation of the global phenomenon, will make its television debut this Easter. The play is premiering on Sunday, April 20th at 7:30pm on ABC Family and ABC iView, giving audiences around the country their first chance to experience the live show from their living rooms.

Filmed at Sydney’s Theatre Royal, Bluey’s Big Play brings the animated favourite to life with larger-than-life-sized puppetry and the familiar voices of Melanie Zanetti (Chilli) and Dave McCormack (Bandit), music composed by Bluey‘s primary composer Joff Bush, and an original story by Bluey creator Joe Brumm. The production has previously toured internationally and was recently nominated for an Olivier Award for Best Family Show in 2024.

The plot of the stage show follows Bluey and Bingo as they set out to get Dad off the beanbag so that they can all play. Viewers can expect laughter, dancing, and some heartwarming moments.

The televised adaptation is produced by BBC Studios Kids & Family Productions in association with Ludo Studio, Andrew Kay and Windmill Theatre Co, with international distribution handled by BBC Studios. The ABC’s Mary-Ellen Mullane serves as commissioning editor and acting head of Children & Family.

Bluey’s Big Play premieres Sunday 20 April at 7.30pm on ABC Family and ABC iview.

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Australian Unity has appointed InMoment as its strategic partner to enhance its customer experience (CX) initiatives.

The collaboration between the health, wealth, and care provider with the experience improvement company represents a significant step in Australian Unity’s ongoing commitment to delivering exceptional experiences for its members and customers.

Moving from a legacy survey-heavy program, Australian Unity is embracing a fully integrated CX approach powered by InMoment. The transformation will enable the organisation to leverage InMoment’s capabilities to analyse all customer feedback sources, including online reviews, call centre recordings, and more, for a holistic view of the customer.

Leveraging InMoment’s AI-powered integrated CX platform, the health, wealth, and care provider will gain deeper insights, uncover meaningful patterns, and drive informed business decisions that enhance member satisfaction and engagement.

“At Australian Unity, we make it a priority to truly listen to our members and turn their feedback into real, meaningful changes,” Lenette Gear, Australian Unity’s general manager customer insurances, said. “Working with InMoment helps us better understand what matters so we can focus on the changes that will have the greatest impact for our members.”

David Blakers

David Blakers, InMoment’s APAC managing director, added: “We’re honoured to partner with Australian Unity and support their deep commitment to their members. Australian Unity is investing in a truly comprehensive approach to CX, leveraging our full suite of capabilities to connect every customer touchpoint.

“This level of integration will allow them to take real-time, data-driven actions that drive positive change and long-term loyalty.”

This comes after Australian Unity launched its first brand campaign, ‘Real Wellbeing: Balance Your Being’, via The Royals last year. The campaign underscores the crucial role of finding balance in our lives and reinforces its Real Wellbeing proposition.

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