In a landmark move that signals a shift in how streaming platforms are measured and monetised in Australia, Netflix has officially joined OzTAM’s audience measurement ecosystem.
The announcement positions Netflix as the first global subscription video-on-demand (SVOD) platform to have its local viewership independently measured and reported by the country’s official television ratings provider.
The development marks a critical convergence of traditional broadcast and digital video measurement, offering advertisers, media buyers and networks a clearer view of how Australians are consuming content across platforms.
At the heart of this announcement is OzTAM’s newly launched report, Streamscape, which aggregates viewership across free-to-air (FTA) broadcast TV, broadcaster video on demand (BVOD), and now, SVOD services like Netflix.
Using Streaming TV Meters (STVMs) deployed across OzTAM’s existing panel homes, Streamscape captures viewing on connected TVs, smartphones, tablets and desktops.
The goal? A unified data set that allows agencies and marketers to compare like-for-like performance across platforms.
While the current phase is focused on transparent measurement via Streamscape, a second phase is already in the works.
This next step aims to deepen the integration between Netflix and OzTAM’s VOZ Total TV currency by incorporating Netflix’s ad-tier census data.
The long-term ambition is ambitious but pointed: a single trading currency that includes linear TV, BVOD, Netflix and potentially other streaming services.
By embedding streaming data within audience planning and optimisation tools already used by agencies, OzTAM and Netflix are laying the groundwork for fully converged video trading.
This could mean less friction in media planning and new strategic opportunities for brands looking to reach audiences regardless of platform.
Karen Halligan
OzTAM CEO Karen Halligan described the partnership as a “meaningful step” toward unified measurement and used the announcement to invite other streaming services in Australia to participate in the initiative.
“We look forward to delivering rich, accurate, and actionable audience insights to the industry as we continue to build towards converged trading, no matter which screen content is consumed on, or who it is delivered by,” Halligan said.
Heidi Monro, Senior Manager of Advertising Sales at Netflix ANZ, echoed the sentiment, adding that the company has long prioritised transparency through public-facing reporting, but saw this as the right time to go further in the Australian market.
This partnership is the latest in a string of innovations from OzTAM, which has ramped up its efforts to future-proof the country’s audience measurement system.
Alongside the rollout of VOZ as the official currency, the agency has expanded STVM coverage and is exploring the use of big data through a new proof-of-concept project.
In a career twist even his younger self might not have believed, Kyle Sandilands is making his big-screen debut, as himself (of course), in an upcoming action-comedy titled Zombie Plane.
Revealed live on-air during The Kyle & Jackie O Show this morning, Sandilands confirmed he’ll be joining an eclectic ensemble of celebrities including Chuck Norris, Ice-T, Bob Geldof, and Vanilla Ice in a tongue-in-cheek genre mashup.
The film, described by Sandilands as “Snakes on a Plane, but with zombies,” follows a high-stakes, undead-infested flight from Sydney to Los Angeles, where celebrity passengers moonlight as secret agents tasked with saving humanity.
While Zombie Plane features a roster of international names, it also brings in several recognisable Australian stars, with the likes of Sophie Monk, Cody Simpson, Amy Shark, and John Jarratt all set to appear alongside Sandilands.
“Have you ever heard of a better plot?” Sandilands asked his co-host Jackie O on-air. “It’s a big budget. Real sets. No green screen. I’m actually out on the water on a super yacht.”
His character, true to form, is a rich version of himself , smoking cigars, sipping whiskey, and lounging aboard a luxury vessel before being roped into the plot by Ice-T, who apparently arrives via submarine to enlist Sandilands’ help with a critical “instrumentation situation.”
Sandilands revealed he didn’t audition for the part, producers approached him directly. “I said to Bruno, ring up the jet, get the pilot ready. And he’s like, ‘Oh no, they’re paying for business class flights.’ I said, ‘Commercial? Please,’” he laughed.
While details of the film’s distribution and production companies are still under wraps, Sandilands confirmed that wardrobe, travel, and staffing were all covered.
“I’ve got the wardrobe and my own staff and everything,” he said, adding that the script is under embargo, though he has seen it.
“It’s got the Oscars written all over it!” Jackie O teased on air.
“Well, look, Jackie,” Sandilands replied, only half-joking, “I’m actually picking out my Oscars outfit now. Who’s doing the soundtrack? Flo Rida. Hello. Everything’s lined up for success here. We’ll be going to Cannes, probably. We’ll be going to all the film festivals, probably. Move over, Leo. You’ve had your turn. It’s Sandilands’ turn.”
Max touched down in Australia two months ago. It has quickly become a popular streaming service with impressive and exclusive content only available on the platform in addition to its generous offering.
The campaign to get Australians on board relied on four words that got to the heart of its offering – ‘All Killer. No Filler.’
The brand is due to rebrand itself globally in just a few weeks and will become HBO Max, but that won’t change the proposition.
“We know the research. Currently, Australians are spending 42 minutes every day looking for something to watch. With Max, you don’t have to spend 42 minutes searching for the gold content because it’s all frigging gold,” Sasha Mackie, HBO Max’s Senior Director, marketing – ANZ, told Mediaweek.
The ‘All Killer. No Filler.’ has been plastered across social, digital and OOH with the centrepiece of its campaign the TVC ad, which pokes fun at the current over-saturation of streaming products available.
Mackie said: ‘It’s got cheek and swagger and, um, and Aussie humour. It sounds so good.’
After a rigorous, yet speedy pitch process, the media and creative accounts were awarded to EssenceMediacom and Special, respectively.
But what was the process behind the campaign and how did the agencies work together and with WBD?
Mediaweek spoke to EssenceMediacom CEO Pippa Berlocher, Lindsey Evans, Global Partner and CEO Special Australia and Mackie, about launching HBO Max Down Under, creating a dynamic village and bringing a killer campaign to life.
“The way I work is very transparently and quickly,” Mackie said.
“Pitch processes are a big drain on any business and I’m very aware of that. I was very transparent, and the brief was the launch brief we went out to pitch. The two main criteria that we were looking at, aside from a cost perspective, was fit and chemistry as well as strategy, and the strategy for both was just on point.”
“I came out of the pitch from EssenceMediacom and I could speak to that strategy, I knew we could own it; we knew the challenges that we had to work through,” Mackie said. “The same with Special Group, we wanted to make sure that we came at it from a different place.
“We wanted to be a brand coming in as the customer champion, so that is what they responded to and that’s absolutely what we wanted to go with.
“They’re also great people, right, and who doesn’t want to work with great people.”
The WBD win for EssenceMediacom represents an “incredible opportunity” for the agency’s people and business, CEO Pippa Berlocher told Mediaweek.
“It’s not every day you get to launch a brand-new streaming platform and brand in the Australian market, especially one as exciting and poised for breakthrough success as HBO Max.
“This partnership presents a chance for our team to do career-defining work that connects with Aussie culture.”
She said that HBO Max needs to break through as a new streaming brand in market. “That’s what we’re all about – helping brands breakthrough and driving tangible business results through innovative media strategies.”
Berlocher said that from the very beginning, there was great chemistry between the EssenceMediacom and WBD teams and noted that her team enjoyed the entire pitch process and every touchpoint throughout the journey.
She noted that WBD was looking for a partner that could deliver breakthrough strategy and media innovation.
“This aligned perfectly with our agency’s strengths, allowing us to showcase our strategic capabilities and demonstrate how we connect brands to culture.
“Furthermore, WBD has ambitious goals for their launch, which allowed us to flex our depth in analytics and performance strategy, proving we’re equipped to drive their success.”
Evans told Mediaweek winning WBD’s creative account was a “huge honour” in a way that creates cultural impact she and her team are proud of.
She highlighted Special and WBD’s alignment in being the last mover to the already saturated category as an advantage and a unique opportunity to shake up the competition.
“Our shared ambition to be bold and break conventions remained strong throughout the pitch process – WBD challenged us to think beyond the expected which has led to work that doesn’t just announce a new brand but holds a message that cuts through in a meaningful way,” she said.
Evans said that there is a clear alignment in how everyone in the village works “valuing true collaboration, agility, and carrying a creatively ambitious mindset”.
“That chemistry, combined with a hunger to do things differently, made this partnership feel like the perfect fit from the start.”
Mackie described the dynamic between WBD and the agency partners as “different arms of the one team.”
“For me, it’s not them coming back to us, it’s always a discussion. We’re one team, we have one goal between us.
This is not the first time EssenceMediacom and Special have worked together on a client – last year Mediaweek spoke to the agencies about their collaborative work across Uber over the years.
For Mackie, the existing working relationship between EssenceMediacom and Special on Uber was not a factor in her decision-making.
She shared that an offsite between WBD and the agencies in January aligned everyone “on how we wanted to behave and how we wanted to move forward as an agency village.”
“They hadn’t done one of those before, I’m a big believer in them.
“They have meetings, along with Present Company our appointed social agency, without us and then they come back with joint resolutions or recommendations.”
Evans said: “We have a great, proven relationship and one that has been awarded for collaboration – most notably working with Uber Eats on the Australian Open Ambush.
“In getting to world-class breakthrough creativity we know that we need diverse, specialist and trusted partners around the table; all holding hands and sharing the ambition and the risk as one team.
“We are used to moving at an extraordinary pace together —quite literally building the plane as we fly it. Building processes for real-time communication and quick decision-making; keeps everyone agile without compromise,” she added.
For Berlocher, being part of a thriving agency village has a positive impact on the innovation, process, and excellence of the work produced for a client.
“We love partnering with Special on Uber, and we were super excited to broaden that relationship to WBD.
“We did a lot of work with Sasha, Special, and Present Company at the outset of our relationship, dedicating time to align on how we wanted to show up together to move forward fast and deliver an outcome that was representative of the killer product on the platform.
“The WBD team went out of their way to set clear expectations and bring excitement to the agency village from the outset.”
The dedicated time set by WBD to align the agencies on specific ambitions, processes and work produced has proven to be an important investment into the village.
Mackie added: “It is a strong team between the three of them and I’m super proud and so excited by the strength that we have within those.”
Evans said of the work between Special, EssenceMediacom and Present Company: “This is a true partnership, where each agency in the village is collectively accountable for the outcomes and the success.’
She revealed that at the establishment of the village, the agencies created an agency charter that outlined shared ambition, ways of working and rules of engagement to ensure honesty, alignment, accountability to build a strong foundation for long-term success.
“Our close collaboration means that we are making informed decisions together at each step of the way – decisions that benefit the partnership as a whole rather than just one agency’s agenda or one area of the business,” she added.
Special’s reputation for creating unique campaigns and to make HBO Max stand out in the market the creative agency leaned into research they commissioned that discovered the average Australian spends 42 minutes a day in search of great.
“This insight crystallised our last mover advantage – the chance to show up with real insight, empathy, purpose, and a fresh perspective.
“Our mission is to end ‘filler-frustration’ with a streaming service built around what consumers want with a proposition that speaks to the core brand truth – ‘All Killer, No Filler’.”
Evans said the creative platform positions HBO Max as the customer’s champion where premium streaming content reigns.
“Tapping into playful meme culture, the campaign cleverly contrasts iconic moments from Max’s hit films and shows, against the ‘filler’ of other streaming services.”
Berlocher said the EssenceMediacom team are excited by the challenge and opportunity of bringing HBO Max into the Australian market.
“Success will be measured by the brand’s ability to capture market share, drive subscriber growth, and establish itself as a leading streaming platform in the country.
“We are confident that the ‘All Killer. No Filler’ campaign and innovative media strategies, combined with WBD’s compelling content, will deliver exceptional results.”
Berlocher noted that her team aim to deliver breakthrough work that positions the streamer as the platform Aussies want.
“HBO Max is a true customer champion so it’s not just about making noise – it’s about creating moments that fans feel and remember. That means pushing boundaries, creating cultural moments, and driving fan engagement in fresh, unexpected ways.”
She noted that EssenceMediacom will focus on cultural relevance and trends, platform innovation and new tech, frictionless discovery of content, interactive and immersive content beyond the screen and converting attention into action and subscriptions.
Evans said the industry can expect “a truly fresh approach to using the incredible content” on the platform.
“We have not seen in the category and in ways that we believe will truly earn our place in both the hearts and minds of their audiences and in culture itself.”
Top image: Sasha Mackie, Pippa Berlocher and Lindsey Evans
With streaming giants like Netflix now commanding a key space in the Australian broadcasting space, commercial broadcasters have, of late, tried to rein in costs.
But despite the corporate penny-pinching, Australia’s top television personalities continue to secure million-dollar deals to front their biggest shows – at least that’s according to The Australian.
The high pay has long been the networks’ way of protecting valuable talent from rivals eager to poach stars in the battle for viewers and advertising dollars.
According to Steve Jackson in The Australian, while the ABC has kept quiet about salaries of its highest-paid staff (we’re talking more than 150 people earning more than $250,000) commercial networks haven’t been quite as secretive.
A new television ‘Rich List’ compiled by the publication highlights how news and breakfast show hosts dominate the highest-paid ranks.
While the Nine Network remains the most generous, the gulf between male and female salaries remains wide, despite increased attention on pay equity.
Karl Stefanovic (Nine) – $2.8m
Scott Cam (Nine) – $2.4m
Hamish Blake (Nine) – $2.0m
Larry Emdur (Seven) – $1.6m
Natalie Barr (Seven) – $1.3m
Allison Langdon (Nine) – $1.2m
Sonia Kruger (Seven) – $1.2m
Kylie Gillies (Seven) – $1.1m
Peter Overton (Nine) – $1.0m
According to the list, Karl Stefanovic, host of Nine’s Today show, remains Australia’s highest-paid TV personality, with a reported $2.8 million annual contract.
His pay dwarfs that of his co-host Sarah Abo, who earns less than a third of his salary with $800k. Stefanovic’s lucrative deal dates back to a multimillion-dollar contract negotiated in 2015 by then-Nine CEO David Gyngell, which also included a short-lived panel show, The Verdict.
At Seven, Natalie Barr has reportedly become the highest-paid female TV host after transitioning from newsreader to Sunrise host.
Another notable figure is Nine’s Georgie Gardner, who is said to earn $600,000 annually for weekend newsreading in Sydney, a figure stemming from her one-year tenure as Today co-host. Gardner’s contract is up for renewal next year, leaving her future earnings uncertain.
According to the publication, senior executives have acknowledged that commercial broadcasters face increasing pressure to cut wage bills amid declining ad revenue.
Meanwhile back at Nine, sources reveal to Jackson that every top talent contract is currently under review, with pay cuts likely for many, with the pressure to cut costs compounded by a new generation of presenters seeking to replace established names.
The network’s director of television Michael Healy has struggled to retain top talent amid budget constraints. Liz Hayes, Tracy Grimshaw, and Tara Brown, longtime network staples, have seen their on-air roles and contracts trimmed.
Hayes left the network earlier this year after 44 years, following the cancellation of her true crime series.
Despite these cutbacks, insiders note top TV personalities still have strong earning potential beyond network contracts.
Samsung Electronics Australia returns as a Major Partner of Vivid Sydney, bringing its world-class experiential activation, ‘Space to Dream’.
The experience in Cockle Bay features shows three iridescent floating dreamscapes, designed to showcase the extraordinary possibilities that arise when individuals are given the freedom to dream.
Visitors to Space to Dream will experience an immersive journey through multiple zones spanning land and water. They will discover how Galaxy AI2 enables new ways to dream and interact with Samsung’s latest devices including the ultra-thin1, first-ever Galaxy S25 Edge, ahead of its Australian launch.
Samsung’s Space to Dream experience aims to inspire Australians to imagine new possibilities and rekindle their aspirations after Research2 by Samsung found over half of Gen Z (51%) and Millennials (55%) feel they are too busy with daily responsibilities to pursue their dreams and almost half (47%) of Australians spending over 10 hours a week on daily chores and responsibilities.
The research also revealed that 51% of Australians agree that technology can help them manage chores and administrative tasks, allowing more time to pursue personal passions.
With the chance to get hands-on at this year’s installation, festivalgoers at Vivid Sydney can try Samsung’s latest Galaxy S25 series and Galaxy AI2 to see how these cutting-edge innovations provide new ways to accomplish tasks, unlock creativity and grant the freedom to focus on what matters to them.
“About half of Australians aged under 55 wish they had more time to explore and pursue their dreams. Space to Dream, inspired by our Galaxy S25 series and Galaxy AI2, is more than just a beautiful display of sound and light. It’s about stepping into a world of possibility,” Eric Chou, Vice President of Mobile eXperience at Samsung Australia, said.
“We want to encourage Australians to dream, bigger than ever before,” he added.
At the land and bay based activation, guests at Space to Dream will have the opportunity to join the iridescent dreamscape by posing for a dream-like portrait as well as being invited to co-create the installation by taking control of the visuals using a custom app on the Galaxy S25 Ultra.
On land activation, the Dream Generator, invites visitors to immerse themselves in the world of artistic creation and discover how Drawing Assist4 becomes the perfect canvas to unleash creativity and transform dreams into vision.
The Terrace to capture iconic shots of the dreamscape from the best vantage point in the bay. With Nightography5 on the Galaxy S25 Ultra, details are naturally enhanced, allowing for stunning, high quality photos in low-light conditions.
While walk out onto the water to experience Explore the dream, a 7 minute show that imagines what it means to realise your dreams, created in collaboration with Australian talents – Milan Ring and Chloe De Brito.
Award-winning film director and artist De Brito in collaboration with Collider Studio is responsible for the dazzling visuals of this year’s installation. She said: Weaving together live action, Galaxy AI2, and a CGI approach, we’ve visualised an impressionistic adventure into the dream state, painted uniquely with colour and light.
“Together with Samsung, we’re shifting Cockle Bay into a pool of moving neon, inviting Australians into the creation of the show.”
“Shaping the music and sound design for Space to Dream was a deeply immersive process,” said Berlin-based, Australian musician Milan Ring, who composed the ethereal soundscape for the installation. “I hope the audience feels transported into the dream world we created, and I’m excited that the piece will be experienced throughout the duration of Vivid Sydney.
De Brito added: “Samsung’s Space to Dream activation marks the brand’s fourth appearance at Vivid Sydney, which has become a must-see for festivalgoers year after year. This year’s immersive installation will be a spectacle like no other, transforming water into art and blurring the lines between reality and illusion. Brand experience agency, Amplify, has helped bring the installation to life.”
Gareth Davies, Amplify, Managing Director, said “We are thrilled to be partnering with Samsung Australia for the second year in a row at Vivid Sydney, this year bringing ‘Space to Dream’ to Cockle Bay.’
“An ambitious project since its ideation, Amplify is excited for Vivid Sydney attendees and Samsung consumers to experience the activation’s ethereal blend of immersive content, lights and water, all powered through innovative technology.”
Vivid Sydney Festival Director Gill Minervini added: “This installation takes Vivid Sydney’s partnership with Samsung to the next level. The scale and beauty of what we have been able to achieve is phenomenal.
“With Space to Dream surrounded by free music events and light installations in Tumbalong Park, our Darling Harbour festival zone in 2025 will be one visitors cannot miss.”
Heavy might be the head that wears the crown, but for those out there in leadership positions, that weight can be eased simply by having a chat, according to Kelly Healy.
To call Healy a busy woman would be an understatement of monumental proportions. Healy’s official title is News Corp Australia’s general manager client partnerships QLD|SA|WA, meaning she has eyes and ears on campaigns and clients right across the country.
While the journey to the top can be far from smooth for many, Healy believes that can change with a more open, collaborative, and authentic approach, particularly among women in leadership.
Healy managed to carve out time in her busy calendar for a chat with Mediaweek, in which she reiterated her message: progress is possible, but it starts with vulnerability and trust.
Kelly Healy and her sons.
According to the Workplace Gender Equality Agency (WGEA), while women make up 51% of the Australian workforce, they are still significantly underrepresented in senior roles. Only 19.4% of CEOs are women, and just 32.5% of key management positions are held by women.
These stats aren’t just numbers, they’re a reminder of how far there is to go.
For Healy, leadership today looks radically different from even a decade ago. “I’ve seen a massive change over the last 10 years, especially at News Corp,” said Healy.
She went on the credit Lou Barrett, who is the managing director of News Corp Australia’s national sales with leading the evolution, saying that when she first started in the industry there existed a “culture of making sure that you knew everything”.
“And if you didn’t know something, you actually wouldn’t ask because you didn’t want anyone to know that you didn’t know,” she said. “Whereas now it’s encouraged to your hand up and ask someone, ‘can you come and help me with that?’, and often it’s the new guys that are coming in and actually teaching us, you know, the oldies, how to do something”.
She notes the rapid evolution of the media industry and the constant need for leaders to adapt. “Our generation have had to evolve every six weeks, probably, when you think about it.”
Healy’s own career journey began in magazines, a space she says was rich with passionate women who supported each other. “I call myself a ‘mag hag’,” she laughs. “I grew up in publishing houses where you had passionate, crazy, passionate women that you know loved what they did. It was a beautiful environment of lifting women up and the same hand”.
She also notes the contrasting environment of television networks, which “taught me how to be tough. It taught me how to be resilient. It taught me how to stand up for my own opinions and be okay with that.”
In an industry that thrives on energy, Healy is also a strong advocate for long-term sustainability, particularly for women climbing the leadership ladder. “I’ve seen too many friends and colleagues burn out,” she says. “We’re in a business full of extroverts and high achievers, but it’s a marathon, not a sprint. You’ve got to find a pace that’s sustainable.”
She also notes the contrasting environment of television networks, which “taught me how to be tough. It taught me how to be resilient. It taught me how to stand up for my own opinions and be okay with that.”
Beyond professional skills, Healy stresses the importance of personal well-being.
“I’ve seen so many colleagues and friends burn out over the years,” says Healy. “Anyone who knows me knows I’m really big on health and wellbeing, always have been. That doesn’t mean you miss out on the fun, but it does mean feeling empowered to make the choices that are right for you.”
Healy continued, saying that the demands of the job such as entertaining and looking after clients, can take its toll.
Her advice? “I’d encourage anyone starting out to find a rhythm that’s sustainable. If you don’t look after yourself, you won’t last, it’s as simple as that. We’re in a high-energy, extroverted industry, filled with people who are naturally wired to go at full speed and be high achievers. But you’ve got to find a pace you can maintain. This is a marathon, not a sprint,” she said.
With her blend of grit, openness and strategic thinking, Healy represents a new kind of leadership, one grounded in collaboration, creativity and care. And as more women rise through the ranks, she hopes that culture of support will grow with them.
“Just trust your gut,” she says. “Lead with authenticity, ask the questions, and never be afraid to say you need help. That’s how we move forward, together.”
Influencer baker and founder of Brooki Bakehouse, Brooke Bellamy, has broken her silence on the plagiarism scandal that’s rocked Australia’s online food scene.
The controversy began when RecipeTin Eats founder Nagi Maehashi accused Bellamy of reproducing her recipes without credit in the best-selling cookbook Bake with Brooki.
Now, after weeks of radio silence, Bellamy is speaking out, not just to defend herself, but to reclaim the narrative around creativity, inspiration, and the role of women in food and business.
“Since opening my bakery three years ago and sharing my life online, I’ve never had such a long break between videos,” Bellamy said in a video reel posted to Instagram. “But I’ve also never experienced something like I have over the last few weeks.”
In the three-minute video Bellamy shared her emotional reflections on the saga and the growing scrutiny that’s followed her success.
“All my life, I’ve dreamed of owning my own business,” she said. “Because I love eating sweets and learning how to make them, I opened my bakery a few years ago. Before this, I was traveling the world in search of the best bakeries, and I have been so inspired and influenced by bakeries and bakers the world over.”
While not naming Maehashi directly, Bellamy addressed the heart of the controversy: the originality of her recipes.
“These recipes have been written down on paper, been handed to me by friends and family. They get passed down through generations. They get scaled up and scaled down in the bakery setting,” she said.
“While all of these recipes are personal to me, I cannot say that I have invented the cookies, cupcakes, brownies or cakes in the recipe book. They are all inspired from somewhere and someone before me.”
The feud went public when Maehashi posted a side-by-side comparison of her caramel slice recipe and a similar version in Bake with Brooki, claiming Bellamy had reproduced her work without permission.
“I’m no stranger to seeing my recipes being copied online,” Maehashi wrote, “but seeing what I believe to be my recipes and my words printed in a multi-million dollar book launched with a huge publicity campaign… was shocking.”
She further alleged her legal team had identified additional plagiarised material and were in contact with publisher Penguin Australia.
Bellamy, in an earlier written statement, had already denied the plagiarism claims outright: “I have not plagiarised any of the recipes in my book which consist of 100 recipes I have created over many years since falling in love with baking as a child.”
She did, however, offer to remove the two disputed recipes from future editions “to prevent further aggravation.”
But the story didn’t stop there. American baking star Sally McKenney, of Sally’s Baking Addiction, entered the fray, alleging Bellamy’s vanilla cake recipe mirrored hers from 2019.
“Original recipe creators who put in the work to develop and test recipes deserve credit,” McKenney wrote. “Especially in a best-selling cookbook.”
Sally McKenney, of Sally’s Baking Addiction, also claimed Bellamy plagiarised one of her recipes
Despite the mounting pressure, Bellamy’s reel leaned into the sentimentality that first fuelled her rise.
“The biggest inspiration in my life is my mum, because I learned to cook and bake with her in the kitchen growing up,” she said. “And when I was invited to write a cookbook, I was really excited to share all of the recipes that I’ve been making since I was small.”
She spoke of a baking journey grounded in global travel, shared family traditions, and a genuine love for sweets.
“I never subscribe to be a part of a narrative that pits two women against each other, especially in the same industry,” she added. “I think there’s room for everyone, especially more women in business.”
BBC Studios Productions Australia has expanded its leadership team with three senior appointments, reinforcing its growth ambitions across drama, post-production and branded content.
Scott Hartley has been named Head of Production for Scripted, where he will manage the planning and execution of the company’s expanding drama portfolio. Current projects include a second season of Return to Paradise (ABC’s highest-rated local drama last year) Ghosts Australia for Network 10 and Paramount+, and a third title yet to be revealed.
Hartley was previously Scripted Productions Supervisor at Fremantle Australia, where his credits included Heartbreak High (Netflix) and Bay of Fires (ABC). He also served as Scripted Production Executive at Amazon Studios Australia, overseeing titles such as The Office Australia, Deadloch, and The Lost Flowers of Alice Hart.
Amanda Bainbridge, who joined the company in 2023, has been appointed Creative Head of Post Production. She will lead the creative direction of BBC Studios’ unscripted post slate, which includes Dancing With The Stars, The Great Australian Bake Off, and Top Gear Australia. The company has recently launched an in-house post-production facility in North Sydney to support both domestic and international projects.
Bainbridge brings experience across commercial television and long-form factual programming, having previously worked as an executive producer across development, production, and post.
Amber Brown joins as Director of Partnerships, Digital and Brands. She will be responsible for building relationships with commissioners, brands and agencies to expand brand-funded entertainment and off-air brand activations. Brown will work across content from both BBC Studios Productions Australia and Werner Film Productions.
She most recently led strategic partnerships at Uber ANZ and has held roles at Meta, FremantleMedia, Nine Network and Zenith, specialising in media innovation and commercial growth.
Kylie Washington, Executive Vice President and Creative Director, Global Entertainment, BBC Studios Australia and New Zealand, said the appointments come at a pivotal time for the business. “I’m delighted to welcome Scott, Amanda and Amber to
the team. Their expertise and leadership will be instrumental in expanding our capabilities, strengthening our creative output, and driving innovation across our productions.”
Top image: Scott Hartley, Amanda Bainbridge and Amber Brown
In a move that highlighted the strength of its commercial partnerships, Network 10 hosted an exclusive luncheon for sponsors of MasterChef Australia, celebrating another successful season of brand integration for the iconic cooking competition.
The event, held at The Squire’s Landing on Sydney Harbour, brought together top-tier clients, network executives and production leads despite Sydney’s rain-soaked weather.
The setting, soaked in grey skies but buzzing with industry conversation, mirrored the show’s own recent pub-style immunity challenge, creating a symbolic full-circle moment for the series and its brand partners.
(L-R) Rod Prosser, Marty Benson and Sarah Thornton.
Held at the same location as the now-aired episode 15 challenge, the event featured the winning dish from that segment, Salt & Pepper Squid, originally served by the Orange team (Andre, Beau, Callum, Ben, Declan and Depinder).
Sponsors in attendance included Coles, Harvey Norman, LG, Lurpak, Primo Foods, Lee Kum Kee, Square, Trafalgar Tours, UPI, Jemena and Lion.
Each of these brands has maintained a visible presence within the show, appearing in on-screen challenges, product placements, and narrative-driven integrations.
Paramount Australia Chief Sales Officer Rod Prosser opened the event with remarks that acknowledged the value and longevity of the show’s commercial relationships.
“We’re deeply grateful to all our sponsors for their ongoing support and the time and effort you invest in your integrations,” Prosser said, highlighting the role of Tamar Hovagimian and her commercial team.
“This success wouldn’t be possible without Tamar and her team, whose dedication and passion consistently deliver exceptional brand integrations that create real value for our partners.”
Fresh from a late-night shoot of the series finale in Melbourne, EndemolShine Australia’s Director of Content Marty Benson and Network 10’s Head of Non-Scripted Sarah Thornton flew in to join the celebration.
(L-R) Marty Benson, Sarah Thornson and Rod Prosser.
Benson doubled down on the franchise’s strength as a media vehicle for brands both locally and abroad.
“I’ve been quoted in the trade press saying we’ve got as many sponsors now as we’ve ever had, and it just shows the strength of the show,” he said before adding “we want more, and I will find room for as many sponsors as we can get”.
With MasterChef Australia broadcast in over 150 countries, the show’s reach makes it a compelling option for brands looking to expand both awareness and alignment across diverse markets.
Thornton spoke candidly about the internal rhythm of continuous improvement that drives the partnership between Network 10 and EndemolShine Australia.
“Every year EndemolShine and Network 10 celebrate an incredible season and immediately Marty and the team will talk about what we could do differently and how we can improve for next season,” she said. “So, every year you can see the elevation of how we integrate sponsors, everything is inventive and brings a new lens to the products.”
This iterative approach reflects how the show functions not just as content, but as an evolving commercial ecosystem, one that adapts in real-time to audience behaviour, advertiser needs, and media trends.
MasterChef Australia: Back To Win Sunday To Wednesday At 7.30pm On 10 and 10 Play.
We Are Social has expanded into the reputation space with the release of research highlighting cultural trends impacting corporate culture in Australia and the growing importance of social media in managing reputation.
The global social specialist agency’s report, Reputation at the Speed of Social: How Digital is Disrupting Corporate Communications, explores the growing role of social media in influencing public opinion, stakeholder trust, employee advocacy and crisis response.
Drawing on in-depth analysis of digital and social media data, along with research into Australia’s most and least trusted brands, the report reveals that reputation is no longer a behind-the-scenes function, but it’s playing out in real time and in full view of the public.
In response to growing demand for social-led reputation support, the agency has launched We Are Social Reputation, a new offering designed to help boards, CEOs and corporate affairs leaders navigate today’s social-first communications landscape.
The practice launches in partnership with Paul Edwards, previously Group General Manager of Corporate Communications at ANZ and a former trustee of the Page Society.
It will deliver insight-led strategies, always-on reputation-building programmes and campaigns that position owned and earned social media as a core channel for proactive reputation management and stakeholder engagement.
Reputation at the Speed of Social: Key Trends
• The customer–shareholder disconnect – Rising economic pressures and social media scrutiny have put corporations, their profits and their people under the microscope. Australians are calling out price gouging and tone-deaf leadership. Empathy and transparency are critical to rebuilding trust.
• The DEI dilemma – Diversity, equity, and inclusion efforts face new scrutiny, requiring companies to move beyond virtue signalling to authentic action. To pass the ‘pub-test’, corporations must ensure initiatives are truly inclusive, action-led, and grounded in authenticity.
• The inside-out corporation – In an era of radical transparency, internal culture is now synonymous with external reputation. Workplace culture is public domain, thanks to TikTok, LinkedIn and Glassdoor, where employees can be influential storytellers. Companies that effectively harness employee-generated content (EGC) will thrive.
• The rise of vocal advocates – With trust in institutions declining, people turn to credible peers and independent experts for guidance. As we shift from a ‘deference’ to a ‘reference culture’, the future of advocacy lies with credible voices on social media. Corporations that partner with trusted voices to shape public sentiment can reap reputational rewards.
• Technological tension – Tech and innovation can drive business growth, but also spark public fear. From AI to data breaches, Australians are anxious. To build trust, companies must lead with human-centric decision-making and transparent storytelling.
Paul Edwards and Suzie Shaw
We Are Social APAC CEO Suzie Shaw said: “Social media is now the frontline of public opinion. Reputations are no longer shaped behind closed doors, they’re increasingly built or broken online and, in real time.
“In this new era, corporate and consumer communications have converged. A single employee’s TikTok or a mishandled customer complaint can redefine a company’s reputation overnight. Traditional media relations alone can’t keep up.
“To meet this shift, we’ve launched We Are Social Reputation – a dedicated practice to help organisations lead with social-first reputation strategies.
“Built in partnership with respected industry leader and former Group General Manager of Corporate Communications at ANZ, Paul Edwards, the practice brings deep corporate communications expertise together with our social and cultural data intelligence.
“Our research and client experience show that brands who embrace social-led reputation management are best equipped to thrive, even in turbulent times.
“There’s a clear opportunity to build smarter, always-on strategies that use social insight not just to manage crises, but to proactively shape public perception and stakeholder trust.”
The agency’s Reputation practice aims to deliver insights, strategies and campaigns to support boards, CEOs and corporate affairs teams in using owned and earned social media as core channels for proactive reputation building and management.
Paul Edwards, Adviser at We Are Social Reputation, said: “The environment that corporate communications leaders are operating in has fundamentally changed over the past decade. Reputations are now shaped online, in digital forums and in social media. Communications functions need to embrace the shift and accelerate building capability in digital and social.
“The shift also allows communications leaders to build from data-led insights and bring data-based decision making to the function and to the advice we provide executives and boards. We Are Social’s experience in social strategy and execution means we are ideally placed to support communications teams make this shift.”
dentsu Queensland has retained The Lottery Corporation media account, continuing the agency’s relationship with the organisation for over 14 years.
The contract extension follows a market review with dentsu extending the relationship for another three years.
As the agency of record for media strategy, planning, investment and optimisation, dentsu Queensland has partnered with The Lottery Corporation to deliver the launch of the Weekday Windfall game in May last year, promoting the record-breaking Powerball Jackpot of $200m in February last year, as well as working on rebrands for the Lucky Lotteries and Keno games.
This partnership has been the foundation of the agency in the past decade and has evolved as both the dentsu Queensland agency offering and The Lottery Corporation itself has evolved, demerging from Tabcorp to be a standalone ASX listed organisation.
Chris Ernst, dentsu QLD Managing Director, said: “Our partnership with The Lottery Corporation, and its portfolio of household name brands like Powerball, Oz Lotto and Keno, is one that has stood the test of time.
“Together we’ve done some fantastic strategic work over the years, however it’s our connection as people and organisations that I’m most proud of, and I believe sets a great example for our industry. We have common values and both have a clear sense of purpose, which is incredibly powerful when combined. Here’s to another decade of partnership.”
The Lottery Corporation, General Manager of Marketing, Ben Johnson said: “Our longstanding partnership with dentsu Queensland reflects the strength of their strategic capability and deep understanding of our brands and customers. Our relationship is built on trust, shared ambition and a mutual commitment to evolving together, which is why we’re delighted to continue working with the dentsu team.”
The retention comes after dentsu Queensland was recognised on The Australian Financial Review’s Boss Best Places to Work list, ranking 9th in the media & marketing category.
It also continues the agency’s strong momentum of the past 18 months which has placed dentsu Queensland as a regular in national awards, with General Manager Emily Cook recently shortlisted for the Women Leading Change Awards in the Emerging Leader category having won Mediaweek’s Culture Award in the Next of the Best Awards.
The recognition for the agency’s strong culture comes against a backdrop of double-digit revenue growth as dentsu Queensland cements itself as one of the country’s leading integrated agency offerings. dentsu Queensland has just added Tourism Whitsundays and Au.DA to its growing portfolio of clients and continues to work with clients including; Good Drinks Australia, Tourism and Events Queensland (TEQ) Brisbane Economic Development Agency (BEDA), Experience Gold Coast, Tourism Tropical North Queensland, Visit Sunshine Coast, McCormick Foods, Great Southern Bank, Aveo Retirement Living.
Top image: Christ Ernst
Third Hemisphere has won global management consultancy Argon & Co.
Argon & Co employs over 850 consultants and staff across 17 offices in Europe, Australasia, America, Asia, and the Middle East. It specialises in operations strategy and transformation and has expertise in supply chain planning, manufacturing, logistics, procurement, finance, and shared services.
The public relations agency has been appointed to coordinate with the global management consultancy’s PR on a global level and elevate its brand as a regional leader in the Australiasian market.
In this pursuit, in just its first month of the engagement, Third Hemisphere secured coverage in national outlets such as The Australian Financial Review and The Canberra Times, and broadcast interviews and syndicated business trade coverage profiling key spokespeople.
The win and immediate high-value results is further demonstration of the public relations agency’s deep expertise in complex, high-impact business and technology sectors, according to founder and CEO, Hannah Moreno.
Moreno said of the win: “We’re excited to expand our reach to larger international clients with Argon & Co, a consultancy known for delivering real, measurable results rather than just reports.
“This hands-on, end-to-end approach perfectly exemplifies the future direction of the consulting industry. So we look forward to helping the team showcase their achievements as they continue to grow globally.”
Paul Eastwood, Managing Partner for APAC at Argon & Co, added of the agency’s appointment: “Partnering with Third Hemisphere represents an important step in our regional growth strategy.
“Their track record of helping complex businesses. We’re excited to have a communications partner who can help us share our unique approach and success stories with the wider market.”
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Principals and Intellihub Group have partnered to create the brand for renewable energy provider Enreal.
Smart energy infrastructure and data company Intellihub aims to make renewable energy more accessible and affordable for Australian and New Zealand homes by combining solar, battery and energy optimisation with installation and ongoing service.
Enreal’s home energy kits, available via monthly subscription, generate green energy at home without the upfront costs.
Intellihub General Manager, Marketing and Communications Amanda Redwood said: “Renewable energy is the future. Our aim is to make it easy and affordable for people who are ready to transition, so we developed a product that does exactly that. We needed a brand that would clearly and cleverly communicate the offering. That’s where Principals came in.”
The branding agency worked with the Intellihub team to define Enreal’s brand and personality. Following in-depth consultation with stakeholders, Principals provided potential directions before delivering a brand strategy framework, character, name, logo and graphic device.
Principals Strategy Director Charlie Rose said: “It’s been inspiring to work with the Intellihub team to create the Enreal brand. We landed on an infectious personality that’s straight-up, passionate and lively. As the first offering of its kind in the Australian and New Zealand energy sectors, the brand needed to stand out and present in a way that’s easy to say yes to.”
With an ‘electrifying’ design system, the Enreal brandmark exudes a sense of motion, gradually blending and converging into a central bright spark element. Blue is the brand’s primary colour, supported by yellow, black and white, while bold and colourful studio portraiture featuring energetic people (and pets) convey the brand’s personality.
Redwood added: “Principals rose to the challenge to define a new brand in what can be a confusing category.
“The Enreal brand effortlessly conveys the simplicity of the product and why it is the smart choice for Australians and New Zealanders alike.”
News Corp Australia has been recognised at the 2025 International News Media Association (INMA) Global Media Awards, winning the Best New Video Product or Feature (Regional) category for While I Was Sleeping, a documentary produced by The Advertiser.
The documentary recounts Advertiser journalist Ben Hyde’s survival following a high-speed crash caused by a drug-affected driver.
In conjunction, The Advertiser launched the “Arrive Alive” road safety campaign in 2024, publishing 41 stories over three months and attracting more than 1.5 million views.
Michael Miller, Executive Chairman of News Corp Australasia, praised Hyde’s efforts, stating: “The Advertiser has played a major role in advocating for road safety in South Australia, and there was no more powerful message than Ben’s personal story in ‘While I Was Sleeping’. It acted as a catalyst to transform personal loss into a community-wide conversation.”
Michael Miller, News Corp Australasia Executive Chairman
News Corp Australia also secured several additional honours:
Second Place, Best Brand Awareness Campaign (National) – Welcome to the Contest of Ideas, The Australian
Second Place, Best Public Relations or Community Service Campaign (National) – About Bloody Time, news.com.au
Third Place, Best Public Relations or Community Service Campaign (Regional) – The Courier-Mail and NRMA Insurance Help Our Highway
Third Place, Best New Audio/Voice Product or Feature (National) – Bronwyn, The Australian
Third Place, Best Initiative to Grow Subscriptions (National) – News Pass Registration Strategy
Honourable Mention, Best New Video Product or Feature (National) – Bronwyn, The Australian
The 2025 INMA awards attracted 839 entries from 286 news brands across 49 countries.
By Ben Baker, Managing Director for APAC, Vistar Media
Every year, Vivid Sydney lights up the city like no other – a vibrant expression of creativity, innovation and culture. While Vivid is based in Sydney, its influence is undeniably national. As the southern hemisphere’s largest multi-artform festival, it draws massive attention and nationwide curiosity, making it a perfect hotspot for marketers.
In 2024 alone Vivid Sydney attracted 2.42 million attendees – the third largest on record. But beyond all the lights and vibrant installations, Vivid has quietly become a goldmine for Australian marketers. Whether you’re in the heart of the Sydney CBD, at a train station or walking through the streets in another state, Vivid Sydney is a conversation Australians everywhere want to be a part of. It’s a rare moment that draws national attention, drives foot traffic and sparks deep cultural moments – offering brands the chance to show up when Australians are most switched on.
That’s what makes Vivid so important and why brand marketers must have it, along with other tentpole cultural moments, on their radar. With the flexibility and precision of programmatic digital out-of-home (pDOOH), brands can do more than participate — they can activate smart, scalable campaigns that feel personal on the street level but resonate across the country. It’s a one-of-a-kind opportunity to turn festival moments into nationwide reach.
While millions watch Sydney’s lights sparkle during Vivid, every digital out-of-home (DOOH) screen transforms into a dynamic stage for impactful storytelling. From dazzling light installations illuminating iconic landmarks to interactive DOOH displays that surprise and delight, Vivid Sydney’s DOOH landscape goes far beyond simple promotion. It creates an immersive cultural experience that sparks the kind of curiosity and engagement brands can only dream of.
Savvy marketers know that although Vivid offers a unique moment to connect, cutting through the buzz requires more than just presence, it demands precision. PDOOH takes this a step further by enabling real-time adaptation of creative content based on location, time and audience. This flexibility ensures every message feels relevant and timely, significantly increasing its chance to resonate and drive action. Ultimately success is achieved by engaging the right audience exactly when and where it matters.
Local activations are essential to capture these moments, but there is a real opportunity to scale. pDOOH holds the ability to creatively automate a series of targeted, meaningful touchpoints that build momentum, widen cultural connections and drive measurable results. Expanding the reach of local campaigns across state borders, marketers can move beyond that one-size-fits-all approach and embrace a smart, seamless and connected strategy that speaks directly to high-value audiences—wherever they are.
It’s the key in today’s marketing world. pDOOH empowers brands to launch campaigns faster and smarter, while also giving you the kind of insights and accountability that can really change the way marketers engage with their audiences. With real-time reporting, audience targeting and performance tracking, marketers can now understand not just where their campaigns are running, but how and when they’re making an impact. And with solutions like device ID (DID) passback, brands can retarget those same audiences across digital channels – from social and mobile to display and CTV.
But Vivid isn’t just about showing up during the event. Smart marketers understand that moments like this deserve a full-funnel approach. From the pre-event buzz and anticipation to capturing peak attention during the festival to staying relevant in the weeks after.
Before the event, campaigns can build anticipation and awareness, stirring curiosity and excitement. During Vivid, messaging sharpens to capture peak attention, driving foot traffic and engagement with on-the-ground activations and contextually relevant creative.
But the opportunity doesn’t stop when the lights go out. Post-event activations keep the brand top-of-mind, reinforcing connection and sparking longer-term engagement. This strategic layering turns a moment into a movement, amplifying brand value beyond the event footprint.
Take a page from major cultural activations like Coachella in the US, where brands used DOOH to build excitement leading into the event, connect with audiences on-site and retarget them across digital channels long after the festival wrapped. The same approach can be applied to Vivid, allowing brands to drive lasting connections across Melbourne, Brisbane, Perth and beyond – connecting Australians everywhere.
Whether it’s Vivid, the Australian Open or the lead-up to Christmas, marketers should think of cultural tentpoles as more than just a single media moment. With pDOOH, these events become platforms for phased, data-driven storytelling. Allowing brands to adapt messaging across time, geography and audience behaviours. It’s this flexibility that helps campaigns stay top of mind, long after the crowds disperse.
The announcement positions Netflix as the first global subscription video-on-demand (SVOD) platform to have its local viewership independently measured and reported by the country’s official television ratings provider.
The development marks a critical convergence of traditional broadcast and digital video measurement, offering advertisers, media buyers and networks a clearer view of how Australians are consuming content across platforms.
As Steve Jackson reports on The Australian, the eye-watering deals have long been the price of keeping marquee talent from jumping ship in a market where on-air faces can mean ratings gold.
Take Today host Karl Stefanovic, reportedly earning more than triple the salary of his co-host Sarah Abo. His multimillion-dollar contract dates back to a strategic play by Nine’s former CEO David Gyngell, who locked him in with a sweetener panel show that was canned after eight episodes.
In the Op-Ed published in The Age, Caroline Wilson writes the deal was a legacy move that added $70 million a year to the game’s coffers, beating out a richer but riskier $6 billion pitch from Paramount Plus.
The deal, finalised just before the 2022 finals, promised stronger clubs, better-paid players and growth across AFLW and grassroots.
According to The Daily Telegraph’s Jonathan Moran, the project is still hush-hush, but job ads and NDAs are already circulating, and respected journo Daniel Sutton is said to be playing a key role behind the scenes.
The network has confirmed the creation of a 10 News investigative unit, designed to produce long-form stories across all platforms.
As James Madden writes in The Australian, the 56-year-old is stepping away from media to focus on his health after being diagnosed with cancer late last year.
TV royalty Ray Martin joined radio titans Ray Hadley, Ben Fordham and John Stanley, along with Walkley winner Adele Ferguson and a who’s who of network bosses and editors.
The comment in question came from political reporter Claudia Long, who referenced flood-related deaths while questioning the MPs’ local presence.
As Matthew Benns reports in The Daily Telegraph, The Nationals hit back, slamming the comments as inflammatory and misleading
The tool is reportedly being used to sift through sensitive data and prepare internal reports, despite lacking formal approval.
Sources claim the AI is already active within departments like Homeland Security, where officials were allegedly told to use Grok even though it had not cleared the usual vetting process.
According to Paul Garvey in The Australian, Poynton told the publication that he and others would be “cheering for him to fail,” accusing the former West Australian editor of alienating major players across the city during his media tenure.
The appointment, Poynton says, shows “arrogance and hubris” from both De Ceglie and the NRL.
As James Harrison writes for Sky News Australia, the investigation also questioned the brand’s pricing practices, painting an unflattering picture of the much-loved Aussie hardware giant.
Scott has since defend the company, saying Bunnings pays above-award wages and maintains strong ties with its supplier network.