Tuesday May 26, 2026
EXCLUSIVE: Kyle and Jackie O censor Missy Balfour made redundant by ARN
ARN Media has made longtime The Kyle and Jackie O Show censor Missy Balfour redundant, with staff departures continuing across the business following the show’s collapse earlier this year.
Mediaweek understands Balfour – known to listeners on-air as “Censor” – is the fourth member of the former breakfast team to exit the organisation in the past 24 hours.
Balfour had worked with the show for more than 12 years, dating back to its time at 2DayFM.
Balfour’s workload also gradually increased across the years as more and more conditions were placed on the show by ACMA.
The latest departure follows confirmation that three former producers from the now-defunct show had also been made redundant by ARN.
Former producers Alfie Laguzza, Eliza Brown and Dean Royston – better known to listeners as “Alfie The Gronk”, “Mouth” and “Hulk” – each confirmed their exits via social media.
Dean Royston, Eliza Brown, and Alfie Laguzza
Producers confirm departures on social media
Laguzza announced his departure through Instagram Stories, posting an image of the new-look KIIS team without former hosts Kyle Sandilands and Jackie O Henderson captioned: “Bye KIIS FAM”.
In a follow-up story, Laguzza shared a meme referencing a meeting with HR and tagged Roysten.
According to Laguzza’s LinkedIn profile, he joined the show in 2023 after completing a Diploma in Journalism at Macleay College. His profile also lists King Kyle Group as a current employer, where he held the title of Operations Officer.
Brown also confirmed her departure through Instagram Stories, using the same team image and writing: “Feeling very grateful to have worked alongside some of the best in the business. I leave with memories that will last a lifetime. Love this team, love this show”.
Brown had been with the company for just over a year.
Royston, meanwhile, joined the team in 2023. Prior to his stint at KIIS, he worked as Head of Audio at Yahoo and has spoken publicly about his career in the Australian military.
Laguzza’s Instagram Story v Brown’s
ARN says majority of staff redeployed
The departures come as ARN continues reshaping its KIIS Sydney breakfast line-up following the exits of Sandilands and Henderson earlier this year.
In reference to Laguzza, Brown, and Royston’s exits, an ARN spokesperson told Mediaweek that the company had redeployed most of the staff associated with the former show.
“ARN has been able to redeploy the majority of team members from The Kyle & Jackie O Show. Unfortunately, a small number of roles could not be accommodated elsewhere in the business, and those individuals will be leaving ARN,” the spokesperson said.
“Our focus is on ensuring everyone impacted is treated with care and respect and supported through this transition. We thank them for their contribution during their time at ARN.”
The latest redundancies add to the ongoing fallout surrounding one of Australian radio’s highest-profile breakfast programs, as ARN continues to rebuild its Sydney KIIS operations.
Three Kyle and Jackie O producers exit KIIS after show fallout
Three former producers from the now-defunct The Kyle and Jackie O Show have been made redundant by ARN Media, with staff departures continuing in the wake of the network’s high-profile breakfast shake-up.
Former producers Alfie Laguzza, Eliza Brown and Dean Royston – better known to listeners as “Alfie The Gronk”, “Mouth” and “Hulk” – each confirmed their exits via social media.
Laguzza announced his departure through Instagram Stories, posting an image of the new-look KIIS team without former hosts Kyle Sandilands and Jackie ‘O’ Henderson captioned: “Bye KIIS FAM”.
Laguzza’s Instagram Story beside Browns.
In a follow-up story, Laguzza shared a meme referencing a meeting with HR and tagged Roysten.
According to Laguzza’s LinkedIn profile, he joined the show in 2023 after completing a Diploma in Journalism at Macleay College. His profile also lists King Kyle Group as a current employer, where he held the title of Operations Officer.
Brown also confirmed her departure through Instagram Stories, using the same team image and writing: “Feeling very grateful to have worked alongside some of the best in the business. I leave with memories that will last a lifetime. Love this team, love this show”.
Brown had been with the company for just over a year.
Royston, meanwhile, joined the team in 2023. Prior to his stint at KIIS, he worked as Head of Audio at Yahoo and has spoken publicly about his career in the Australian military.
The departures come as ARN continues to reshape its KIIS Sydney breakfast line-up following the exits of Sandilands and Henderson earlier this year.
ARN comments
“ARN has been able to redeploy the majority of team members from The Kyle & Jackie O Show. Unfortunately, a small number of roles could not be accommodated elsewhere in the business, and those individuals will be leaving ARN,” a spokesperson from ARN said.
“Our focus is on ensuring everyone impacted is treated with care and respect and supported through this transition. We thank them for their contribution during their time at ARN.”
Main image: Dean Royston, Eliza Brown, and Alfie Laguzza
Bruce McWilliam gains SCA shareholder backing for board seat
Bruce McWilliam has gained public support from fellow Southern Cross Media shareholder Alex Waislitz as the former Seven executive builds a near 10 per cent stake in the television, radio and publishing group.
As The Australian reports, McWilliam now holds 9.73 per cent of Southern Cross, making him the company’s second-largest shareholder behind the Stokes family’s 20.3 per cent stake through SGH.
Waislitz, who owns 7.53 per cent of Southern Cross through 19 Cashews Pty Ltd, has called for McWilliam to be given a role on the company’s board.
“He would clearly add considerable firepower to the board and would be an ideal director to support the CEO to refine and deliver his action plan for the company,” Waislitz told the publication
McWilliam increases Southern Cross stake
McWilliam, a former commercial director at Seven and long-time associate of Kerry Stokes, has spent about $26 million buying Southern Cross shares over the past two months.
His holding has increased since he first emerged as a substantial shareholder in April, following the merger between Seven West Media and Southern Cross earlier this year.
McWilliam told The Australian in April that he remained confident in the company’s media assets.
“I believe in the company, and the shares came up at a good price given what they were at before the merger,” McWilliam said.
“They were almost half down, and it’s a top TV network and strong radio network – both with national platforms.”
Board change creates opening
The push comes during a period of board and executive change at Southern Cross.
Heith Mackay-Cruise will step down as chairman and retire as a director on 30 June. Teresa Dyson has been named chair-elect and will become independent non-executive chairman on 1 July.
Ido Leffler is also stepping down as a director, creating further movement on the board.
Southern Cross has indicated it is seeking independent non-executive directors. McWilliam’s long association with Stokes may therefore be considered as part of any board assessment.
Rohan Lund leads post-merger business
Rohan Lund, a former Seven executive, was appointed managing director and CEO of Southern Cross in April. He replaced Jeff Howard, who stepped down in February ahead of the group’s December half-year results.
The merged company includes the Seven Network, Triple M, the Hit Network and West Australian Newspapers.
In its first combined post-merger half-year results, Southern Cross reported total revenue of $1.008 billion, down 1.5 per cent.
Television revenue fell 2.1 per cent to $712 million, while audio revenue rose 3.2 per cent to $216.5 million.
No dividend was declared, with the company focused on reducing debt.
Main image: Bruce McWilliam
Music built the creator economy. Now it could break it
Music has become one of the internet’s most powerful attention drivers.
For the creator economy, trending audio can feel like easy access to the algorithm and a shortcut into culture. However, for music labels and rights holders, those same posts are becoming a hunting ground for potential copyright infringement.
The risk is no longer an afterthought. As organic posts shift into paid media, one copyright mistake can turn a viral moment into a million-dollar mistake.
Platform access = music permission?
Monica Allen is a media and commercial litigation lawyer with experience handling complex, high-profile disputes in Australia’s Supreme and Federal Courts. Her expertise includes defamation, media law, corporate governance, financial services litigation and commercial disputes.
To investigate the grey area, Mediaweek sat down with Monica Allen, Partner at BlackBay Lawyers, who said one of the most common issues facing clients is confusion around music in platform libraries.
“Just because music is publicly available inside a platform like TikTok or Instagram, there is an automatic assumption that it is cleared for commercial use,” Allen said.
“Quite often, it is not.”
Allen added that many brands and creators still fail to understand the difference between platform access and commercial permission.
“We regularly see brands and creators using trending audio in paid campaigns without understanding that platform licences are very different for personal and commercial advertising use.”
For Allen, the line is clear: access does not equal permission.
She pointed to the specific licensing arrangements that govern platform music libraries, where the distinction between user-generated content and commercial advertising is often blurred.
“A song being available to a creator on TikTok definitely does not mean that a brand can use that same track in a paid campaign.”
Allen said creators can protect themselves by ensuring responsibility is clearly defined before a campaign goes live.
“I think it is about contractual allocation and understanding who is responsible for what. That is really important.”
The biggest influencer marketing trap
The second disruptor, Allen highlighted, is the legal shift that occurs when organic content is repurposed into paid media.
OK, but what does that actually mean?
Allen explained: “It might have started out as something uploaded organically by a creator, but once it is boosted by a brand or used in an ad campaign.
“It changes the legal equation significantly.”
Allen called it “one of the biggest traps” in influencer marketing at the moment.
“We are seeing quite a lot of disputes where the issue is not arising from the original upload, but from the subsequent commercialisation of the content.”
But who takes the blame if the trap works: the creator, the brand, or the agency?
The answer is all of them, but not equally.
Allen said the blame tends to fall on those with the “deepest pocket” (brands).
“But agencies and creators are not insulated simply because they did not upload the content.”
Under Australian law, liability can arise from authorisation, publication, reproduction and commercial exploitation.
“If an agency approved the content, or a brand directed or benefited from it, and the creator uploaded it,” Allen said, “they can all face exposure.”
Australia’s enforcement wake-up call
The law may already be in place, but enforcement in Australia has historically been anything but consistent.
Allen said music clearance is still too often treated as an afterthought.
“The law is catching up, but we are moving much more towards the American space, which has been far more litigated over the years.”
The issue, Allen said, is not that Australia’s laws are particularly different or lacking. The real shift is “a much bigger trend of actually enforcing rights holders’ rights.”
“Multinationals are obviously better resourced and more across it, but in Australia particularly, using unlicensed music content was viewed as low risk because enforcement was so inconsistent.”
AI adds a ‘new layer of uncertainty’
Things get even murkier when AI joins the conversation, or in Allen’s words, adds a whole “new layer of uncertainty”.
One of the biggest questions from a legal lens, she said, is what material AI systems have been trained on, and whether copyrighted works were used without permission.
For brands, the risk does not stop there.
AI-generated tracks that imitate the sound, voice, or style of well-known artists can still create legal and reputational exposure, if not infringement, “particularly if audiences are being misled into believing that an artist endorsed or participated in their campaign.”
“The law is very much still catching up with that area.”
Spotify x Universal Music Group AI deal
But the tables have unexpectedly turned. Spotify and Universal Music Group have locked in a licensing deal that will allow Premium subscribers to generate song covers and remixes using artificial intelligence.
For Allen, the key takeaway is clear: AI-generated music is not a legal free-for-all, but this deal does the opposite.
“In many ways, this deal highlights the opposite: music rights remain highly valuable and heavily protected in the AI era.”
Allen added that even when music is AI-generated, brands and creators can still face exposure if the output reproduces protected musical elements or closely imitates an artist’s voice or style.
“The fact that major platforms and labels are negotiating sophisticated licensing agreements demonstrates that rights holders are taking this issue extremely seriously.”
Allen concluded with a simple warning for creators and brands: do not assume AI-generated content is automatically safe to use commercially.
Universal Music Group has been one of the loudest advocates in the music industry’s AI copyright crackdown.
Most recently, Universal Music Publishing Group joined Concord Music Group and ABKCO Music in a second lawsuit against Anthropic, seeking more than A$4.18 billion in potential statutory damages over alleged infringement of more than 20,000 songs.
Main image: DC Studio on Magnific
Advertisers keep spending: Digital market posts strongest March quarter on record
The Australian internet advertising market has delivered its strongest March quarter on record, with total spend reaching $4.9 billion in Q1 2026.
The latest IAB Australia Internet Advertising Revenue Report, prepared by PwC Australia, found that total internet advertising expenditure rose 15.3 per cent year-on-year, up from $4.22 billion in Q1 2025.
The result was within one per cent of the record December 2025 quarter, suggesting the usual seasonal slowdown in the first quarter has narrowed significantly.
Video and search lead growth
Video advertising was the fastest-growing major segment, rising 20.4 per cent year-on-year to $1.4 billion.
Search and Directories remained the largest segment, reaching $2.16 billion. That was up 13.9 per cent year-on-year and represented about 44 per cent of total internet advertising spend.
Gai Le Roy, CEO of IAB Australia, said investment in digital advertising remained solid, with growth coming from a broader advertiser base.
“Investment in Australian digital advertising remains solid, but the growth is coming from a broader base of advertisers than it used to. While large brand advertisers continue to be important drivers of market scale, we are also seeing meaningful investment from SMEs, commerce-led businesses and new international entrants looking to build their presence in Australia.
“Video continues to be the standout performer, and search is also accelerating, the results suggest advertisers are continuing to concentrate spend in a relatively narrow set of environments, despite the important role broader premium content ecosystems play in long-term brand growth and reaching audiences in trusted contexts,” Le Roy said.
Gai Le Roy
Key findings from the report
All video categories recorded double-digit growth in the quarter. Social video was the fastest-growing sub-segment, up 29.4 per cent year-on-year.
BVOD grew 10.1 per cent, supported by high-demand viewing environments and major sporting events. Video now accounts for 73.2 per cent of total display market expenditure, up from 71.4 per cent in Q1 2025.
Infeed and native formats grew 13.2 per cent year-on-year to $287.8 million, while standard display increased 7.7 per cent to $129.5 million.
Search and Directories recorded its fastest growth rate since the 2022 COVID recovery. The segment added about $264 million in spend year-on-year, rising from $1.90 billion in Q1 2025 to $2.16 billion in Q1 2026.
Classifieds also grew 13.9 per cent year-on-year to $787 million. It was up 7.4 per cent quarter-on-quarter.
Audio and category shifts
Audio advertising grew 8.3 per cent year-on-year to $83.5 million in Q1 2026, although total audio was down 11.3 per cent quarter-on-quarter.
Podcasting outperformed streaming audio, rising 12.6 per cent year-on-year to $32.6 million. Streaming audio grew 5.7 per cent to $50.9 million.
Automotive recorded the largest year-on-year increase in share of general display across industry categories, up 1.7 percentage points. IAB Australia said the lift was driven by BVOD and automotive-oriented platforms, with new Chinese car brands now visible in Australian digital advertising spend.
Retail also increased its share year-on-year, up 1.4 percentage points, with investment across multiple BVOD players and major contributors.
Insurance and travel lifted their share quarter-on-quarter, while government advertising increased both year-on-year and quarter-on-quarter. The report linked this to federal campaigns around the fuel crisis in February and March.
Health and beauty, entertainment and media, and FMCG recorded the largest year-on-year share declines. IAB Australia said this was consistent with a pullback in household discretionary advertising spending.
What the report measures
The IAB Australia Internet Advertising Revenue Report is compiled by PwC and includes data from media owners, publishers and advertising platforms operating in Australia.
The report measures five formats: search, classifieds, display, audio and video.
Search includes paid search and search shopping ads. Display covers standard display, native advertising, paid sponsorship content, display ads on email, tenancies and other formats.
Audio includes streaming audio and podcasts, while video covers publisher, outstream, AVOD, social video, BVOD, video podcasting and other video formats.
Candice Wyatt lands at Sky News Australia after Network 10 exit
Former Network 10 Melbourne newsreader Candice Wyatt has announced she has joined Sky News Australia as a casual presenter, less than a year after confirming her departure from 10 following a 15-year stint with the network.
Wyatt revealed the move in a LinkedIn post, saying she had already delivered five hours of live television across her first two shifts with the broadcaster.
“Proud to announce I’ve joined the team at Sky News Australia as a casual Presenter. After just two shifts, I’ve already delivered 5 hours of live news – solo,” she wrote.
Wyatt detailed the role’s pace and unpredictability, describing several live crosses she handled during the broadcasts.
Wyatt embraces live breaking news environment
In her post, Wyatt said that within those first few hours at her new workplace she:
• Deviated from the set rundown on the fly to cross live to a CNN reporter at the scene of the White House shooting.
• Crossed live to Dan Diker Ph.D. to discuss reports of an imminent peace deal between the U.S and Iran.
She then added that Sky News Australia’s style of “unscripted, pertinent and reactive news delivery feeds my soul.”
She also acknowledged the Sky News Australia team behind the program.
“There’s a passionate team powering this national program behind the scenes, and I’m grateful to them and to Todd Nardi and Elise Holman for having me on board.”
Wyatt added that she sees an opportunity for the network amid an increasingly volatile global news cycle and a looming Victorian election campaign.
“During a time of global destabilisation, and within an election year for Victoria, I see so much opportunity for us to deliver a dynamic, relevant, entertaining and comprehensive news service.”
End of a 15-year run at 10
Wyatt’s move follows her announcement last November that she would leave Network 10 after 15 years.
At the time, the 41-year-old described the departure as “a new chapter” after a career spanning local newspapers, regional television, the ABC and commercial broadcasting.
A graduate of Deakin University, Wyatt began her journalism career at the Werribee Times before moving into television with Southern Cross Television in Tasmania, where she gained national attention for her reporting on the 2006 Beaconsfield Mine Disaster.
She later joined the Australian Broadcasting Corporation in Ballarat before moving to Network 10 in 2010.
During her time at 10, Wyatt became known for crime reporting and live coverage of major Victorian news events, including the Jill Meagher murder case, bushfires and bikie raids. She also covered major international stories, including Schapelle Corby’s release from Bali’s Kerobokan Prison, the disappearance of Malaysia Airlines flight MH370 and the Rio Olympics.
In 2014, Wyatt was promoted to the TEN Eyewitness News Melbourne anchor desk alongside Stephen Quartermain before returning to senior reporting duties following a national newsroom restructure in 2017.
Meet billionaire Byron Allen, who's taking Stephen Colbert's time slot
As the world says goodbye (finally – it’s feels like a protracted goodbye) to Late Night host Stephen Colbert, interest is growing about the man set to take the 11:35pm time slot on CBS.
As with most of the hosts on competing shows such as Jimmy Kimmel and Seth Meyers, media mogul Byron Allen is a comedian, and he’s incredibly wealthy – a billionaire in fact.
But two things set Allen apart from most of the other late night hosts on various networks: he’s not white, and he bought the time slot.
The Guardian reports that “While it’s standard for networks to pay a host like Allen, 65, his deal with CBS is a little different. He will be paying the network for Colbert’s old time slot through a 16-month-long lease agreement while selling advertising for the show himself.”
Allen’s Comics Unleashed show has been airing for 20 years, and last year began running after Colbert’s show.
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Who is media mogul Byron Allen?
CBS executives predict Allen’s take over from Colbert will provide “immediate profitability” – something they are seeking as they cited financial reasons for the cancellation of the veteran host’s show.
Allen recently made headlines for acquiring a majority stake BuzzFeed for $US120m.
As for Colbert, it seems it could be retirement. He’s held the covetable time slot since 2015, and aired his final episode on May 21, 2026 with a massive farewell, that seems to also be an end to his public life at a similar scale.
In 2025, the show was cancelled by CBS to appease Donald Trump, after Colbert, amongst many anti-Trump jokes, mocked the $16 million settlement it made with Trump for allegedly “maliciously” editing an interview with his Democratic election rival Kamala Harris.
Top image: Byron Allen. Image: X
Tapt Media appoints Michael Graham National Trading Director
Tapt Media has appointed Brisbane Sales Director Michael “MG” Graham to the newly created role of National Trading Director.
Graham will take on the national role immediately while continuing in his current position leading the Brisbane sales team.
The company said the role was created to support the pricing and packaging of inventory across broadcast and digital platforms.
National trading remit
In the new position, Graham will work with State Sales Directors and the digital, traffic, commerce, and sports and commercial partnerships teams.
He will also oversee consortium arrangements and work with the digital team on cross-platform buying.
Tapt Media said a key focus of the role would be the trading of live radio spots.
Tapt Media Chief Commercial Officer Brian Gallagher said the new structure would support the company’s sales teams.
“The structure MG is introducing will directly support our front-line sales teams, putting us in a prime position to grow both our revenue and our market share. We offer our full support and congratulations to MG as he takes on this crucial national brief”, Gallagher said.
Audio growth focus
Graham said the company was well-positioned in the audio market.
“Tapt Media is well-positioned to lead the continued growth in audio and ensure we provide market-leading solutions for our partners via considered and results-driven trading outcomes,” Graham said.
“I’m excited about the opportunity to contribute to our trading strategy and maximise our revenue potential, particularly with our Premium offering and the ever-evolving collaboration with our full suite of audio products.”
Tapt Media operates radio stations, including 2GB, 3AW, 4BC, and 6PR, as well as podcasts.
Main image: Michael Graham
'Pretty Wild': Lamestream media talks about its first birthday
Independent podcast Lamestream, hosted by award-winning journalists Osman Faruqi and Scott Mitchell, gives listeners a fascinating critique of how the media is handling the news.
To the surprise of both hosts, the podcast hit the ground running, and doesn’t look like slowing down anytime soon. Since launching in April 2025, Lamestream has surpassed half a million downloads and now reaches more than one million people each month across social media.
Mediaweek spoke to hosts Faruqi and Mitchell about celebrating their first birthday, and the announcement of a national tour.
Mediaweek: Did you ever imagine Lamestream would become as widely accepted and as popular as it has?
Lamestream: To be honest, not really! When we launched Lamestream we really had no idea if it would be successful or how many people would listen. We were both pursuing other work as a potential backup if Lamestream didn’t take-off.
We thought there was a gap in the market for a show that looked at news, politics and current affairs, but through the lens of the media, but we also thought there was a chance it would just be a handful of journalists who tuned in.
The fact that it’s become so popular, not just within the industry but with audiences generally, is pretty wild. We hoped that it would resonate and reach a lot of people, but the fact that it’s become a sustainable and growing business within 12 months is really exciting.
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MW: Have you ever had any blowback following the release of an episode?
LS: You know what, this is something we expected to happen all the time. Journalists aren’t the most thick-skinned people out there, and we thought a show that interrogated and critiqued the pretty small and insular Australian media industry would lead to us copping all sorts of backlash. But overwhelmingly the response has been people thanking us for looking into the various issues impacting the media, encouraging us to go further or passing on more tips.
I have heard second-hand that some editors and media bosses grumble every now and then at certain segments, but all that really tells us is that everyone is listening!
MW: What is your research process like? Do you get together and brainstorm ideas or do you both just kind of know what to run?
LS: There’s a lot of overlap in topics we’re interested in, but there’s a lot of divergence as well. We each have our own areas of special interest and different sources, so we tend to spend most of the week chasing different leads, speaking to different people, researching things we think are interesting and then get together and share what we’ve found.
Sometimes it’s a topic that we both have a lot of interest and experience in, and can bring informed perspectives, and in other instances it’s a subject where one of us will explain what’s going on to the other and get their take in response.
The challenge with a conversational show like ours is getting across a lot of information in a way that is still engaging. The only way to do that is to be really across the brief, so we spend a lot of time researching and talking to people.
MW: What has been the most eye-opening lesson of this entire experience?
LS: Without a doubt it’s how much Australians care about the media. Trust in mainstream media may be at record lows, but there are so many interested, engaged, passionate listeners who care about the world around them and want to know more about the people shaping it.
Sometimes we’ll pick what we think is a pretty niche topic, or something we think only media nerds will care about, and it will generate the most feedback and conversation. I think there’s a huge desire out there to understand how this powerful, and kind of strange, industry functions – especially at a time when the world feels so precarious.
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Lamestream Live: The First Birthday Tour
The podcast will celebrate its first birthday with a national live tour in June and July 2026, with additional shows in Sydney and Melbourne announced after the original dates sold out within 24 hours.
Guests include Grace Tame, activist and former Australian of the Year (Sydney), Hannah Thomas, lawyer and survivor of police brutality (Melbourne), Amy Remeikis, journalist and author (Canberra) and Sophie McNeill, former ABC Middle East Correspondent and member of WA Parliament (Perth).
Tickets are priced at $49.90 and are on sale now via the Lamestream website.
Top image: Lamestream media
Youi challenges Origin fans to prove they are True Blues or Maroons
Youi is calling on rugby league fans to prove their State of Origin loyalty with the launch of Youi Origin Verified, a new fan initiative developed in partnership with the NRL.
The platform gives NSW and Queensland fans the chance to earn Official Fan Verification by completing a series of challenges that test their knowledge and passion for their state.
Across the 2026 State of Origin series, a live NSW vs QLD leaderboard will track which state has the most verified fans, with participants competing for rewards, prizes and bragging rights.
Putting fandom to the test
Fans can take part by visiting Youi Origin Verified and creating an account.
They can then complete challenges, including State of Origin trivia and code-word challenges, to earn points toward their Official Fan Verification.
Each participant’s score will place them into a fan status category, from Bandwagoner and Casual Fan to Loyalist, Diehard and The Immortal. Once fans earn their status, they will receive an Official Fan Verification graphic, a shareable social tile they can post to show their allegiance.
Fans also have the chance to win prizes, including $50 NRL Shop vouchers and commemorative Youi Origin Verified pins.
A top fan experience
Youi Origin Verified’s Top Fan will win an exclusive State of Origin experience, including a trip for two to Game 2 of the 2027 State of Origin at Eden Park in Auckland, New Zealand.
The prize includes two Diamond tickets, flights from the winner’s closest capital city airport and two nights’ accommodation. The match will be the first State of Origin clash held outside Australia since 1987.
Youi on the campaign
Angela Greenwood, Chief Marketing Officer at Youi, said the initiative is designed to put fans at the centre of the game while building on the insurer’s “Footy. Made by Fans” platform.
“At Youi, we believe footy exists because of the fans who live and breathe it,” Greenwood said.
“Youi Origin Verified turns fan passion into something tangible. It recognises the loyalty, knowledge and rituals that set true Origin supporters apart, and gives them a way to wear that with pride.
“This is about showing up for fans in a way that’s never been done before – putting them at the centre of the Origin story and recognising them as the heartbeat of the game.”
Origin legends join the push
To launch the platform, Origin legends Brad Fittler and Kevin Walters have partnered with Youi and the NRL to encourage fans to put their allegiance to the test.
Fittler played 31 games for NSW and captained eight series victories, while Walters represented Queensland across 20 State of Origin appearances.
“State of Origin is built on pride, passion and rivalry and that’s what makes it so special,” Fittler said.
“Youi Origin Verified gives fans a chance to put their loyalty to the test, have a bit of fun with their mates and prove they really know their footy.
“Origin fans love backing their state and this is a fantastic way to be a part of the competition throughout the series.”
Youi Origin Verified is now open to NSW and Queensland fans across Australia and will run throughout the 2026 State of Origin series.
Main image: Kevin Walters and Brad Fittler.
noisy taps former IPG Matt Holmes as Brand Partnerships Director
Culture-first media network and agency noisy has appointed Matt Holmes as Brand Partnerships Director.
Holmes joins the business to lead growth in brand partnerships, working with brands, creative, and PR agency partners to unlock cultural opportunities across music, entertainment, creators, events, and live experiences.
The newly created role will also draw on Holmes’ experience across earned-first strategy, integrated campaigns, experiential ideation and storytelling.
Holmes’ past experiences
Holmes brings more than 20 years of experience across the UK and Australia.
He is the co-founder of independent agency Poem and joins noisy from IPG Mediabrands’ creative arm MBCS, where he was Head of Strategy and Ideation.
In the role, Holmes will work closely with brand managers, marketing directors, heads of communications and CMOs, as noisy expands its offer across strategy, creative, talent, partnerships, production and media.
Holmes on joining noisy
Holmes said the move comes at a time when brands are looking for a deeper cultural connection.
“In a world increasingly shaped by AI, algorithm addiction, isolation, and a growing demand for real-world experiences, it feels incredibly energising to join a fast-growing fresh independent business focused on literal human connection,” Holmes said.
“Too many brands are chasing culture rather than genuinely contributing to it.
“noisy stands out because it authentically connects brands with music, food, entertainment, creators, and audiences in ways that actually matter, and people feel.”
Holmes said the team was a key reason behind the move.
“What really drew me in was the team – a nimble, entrepreneurial group already delivering impactful work in culture across multiple disciplines.
“It’s a fantastic opportunity to lead growing noisy’s direct brand relationships, ideate and deliver campaigns alongside brands, artists, venues, and creators.”
noisy on the hire
Harry Wilson, Managing Director of noisy, said Holmes brings a rare mix of agency, strategy and partnership experience.
“He understands the challenges brands are facing right now – particularly the need to move beyond transactional campaigns and build genuine cultural relevance.
“As noisy continues to grow, having someone with Matt’s experience leading direct brand and agency partnerships will be hugely valuable for both our clients and the future direction of the business.”
Holmes’ appointment follows several growth milestones for noisy, including new partnerships with Mixmag ANZ and Maple Social Club.
The agency has also worked with brands including Red Bull, Tinder, Uber, McDonald’s, Coca-Cola, Espolon, Canadian Club, Smirnoff and UP&GO.
Top image: Matt Holmes
Perth Bears surge past 16,000 foundation members after launch
Perth Bears have signed more than 16,000 foundation members within days of launch, with demand surpassing the club’s expectations.
The club said 85% of memberships have come from Western Australia, with the response signalling strong support ahead of the Bears’ inaugural 2027 NRL season.
Perth Bears CEO Anthony De Ceglie said the club had originally set a target of 10,000 foundation members by the end of October.
“We beat that number in the first 24-hours with at least triple the demand on Day One alone,” De Ceglie said.
“By the end of our first weekend of sales we’re at an incredible 16,000 members with a new target of hitting 20,000 in our sights.”
A coast-to-coast response
De Ceglie said the club was grateful for support from Western Australia and North Sydney, acknowledging the legacy of the North Sydney Bears.
“We are truly grateful and honoured by all the support from our fanbase in Western Australia and in North Sydney, thanks to the legacy and tradition of the North Sydney Bears.
“This proves that the Perth Bears will be a powerhouse not just of the NRL but of the entire national sporting landscape.
“And it proves that our coast-to-coast story is one that has been embraced.”
Foundation memberships give fans priority access to ticketed and season memberships when they go on sale later this year.
“HBF Park fits about 20,000 seated fans – so my advice for those wanting to come to Perth Bears home games next year is to get in fast,” De Ceglie said.
Club 2027 momentum
The club is also selling a Club 2027 Premium Foundation Membership for $3,000, which gives priority access for up to five immediate family household members.
De Ceglie said many supporters had already taken up the premium membership.
“The Perth Bears are the most exciting story in Australian sport,” he said.
“We are a non-profit club, so every dollar will go back into the Perth Bears and our overall mission of growing the greatest game of all in Western Australia.”
Junior registrations are already up 23% year-on-year, which the club attributed to the arrival of the Perth Bears.
WA support builds
Perth Bears Chairman Ben Morton said the membership figures were “remarkable.”
“The fact that over 85% of our membership is from Western Australia proves what we in WA already knew … that there is huge support for the Perth Bears and the NRL in this State,” Morton said.
“To have 16,000 members sign up in such a short time is remarkable.”
Head Coach Mal Meninga thanked fans for their support and said the club was focused on building for 2027 and beyond.
“We want this club to be something the whole of Western Australia and North Sydney can be proud of,” Meninga said.
“We’re doing the hard work now and putting the planning in place to ensure we have a successful 2027 and beyond – that’s what our 16,000-strong members deserve.”
Eyeing top-five NRL membership status
Perth Bears General Manager of Commercial Katie Roberts said launch-day demand caused temporary technical difficulties, but supporters were patient.
“We keep planning for extra demand, but the excitement about the Perth Bears continues to be unprecedented,” Roberts said.
“We’re well on our way to 20,000 foundation memberships and at least 30,000 members once ticketed and season memberships are released later this year. That will make the Perth Bears a top-five club for members in the NRL.”
The club plans to release its inaugural jersey in August when the Melbourne Storm host the Manly Warringah Sea Eagles at HBF Park, the final NRL match at the venue before the Bears begin playing home games there in 2027.
“The Perth Bears continue to break commercial records across the board not just for the NRL but the national sporting landscape,” De Ceglie said.
“I truly believe the Perth Bears can rival the Brisbane Broncos as the most commercially successful team in the NRL.”
Top image: Anthony De Ceglie
Thinkerbell’s Kathryn Furnari on killing silos and chasing ‘Measured Magic’
At Thinkerbell, they call it “Measured Magic” – the collision of scientific enquiry and hardcore creativity that’s helped the indie agency build a reputation for doing things a little differently. Fewer silos, more chemistry experiments.
It’s a fitting backdrop for Kathryn Furnari, National Head Media Thinker, who works at the intersection of media, strategy, creativity and culture – where the best ideas are expected to travel well beyond a media plan.
Mediaweek has teamed up with the Independent Media Agencies of Australia to give its indie leaders a platform to talk about their work, thoughts on the industry, and their interests outside their working lives.
This week, Furnari steps into the Spotlight.
Kathryn Furnari
When did the agency join the IMAA? 2025
What sets your agency and its offering apart from others? Thinkerbell exists to make the world more interesting, and we do this through measured magic; the fusing of marketing science with hardcore creativity to deliver ideas that actually work.
At Thinkerbell, we don’t start with channels, formats or platforms; we start with insight and human behaviour. Our capabilities are built on the belief that media is most powerful when it’s designed to elicit a reaction, not just to gain attention.
Through our alchemy model, media, creative and experience are developed together, so we’re able to design work that’s more enduring and effective. We never just ask “how do we reach people?” We ask “what behaviour are we changing, and how do we design for that?” which I love.
Indie agencies are increasingly seeing success with major pitches. What differentiates your pitch approach from that of larger agencies?
Our pitch approach is practical and deeply considered. We don’t overproduce or overpromise- we focus on solving the actual problem the business is facing, within the real constraints they operate in.
We don’t do ta-da’s. We get into working with our clients with Think Tanks and Tink Tanks from the get-go – it’s our unique way of working together, bringing our Thinkers and Tinkers together.
In a world of vested interests and backhand deals, clarity and transparency are vital, especially in this market. Our clients are under pressure more than ever to deliver real results and find an agency partner that can create efficiencies by bringing various disciplines together under a single source of strategy, resulting in more effective solutions.
Who have been your latest Agency account wins?
Our most recent account win was Retail Food Group; we have also expanded our remit into media with several pre-existing clients, too. Our clients seem to value the efficiencies of bringing various disciplines together.
What’s another indie agency that you see is crushing it, and why?
Mother is crushing it right now because they’ve evolved into this brilliant “Mother Family” that treats media, design, and tech as one giant creative sandbox rather than siloed departments.
By launching Media by Mother late last year, they’ve essentially told the industry that integration is the way forward. They also still sit at their famous long table, they still live by the “make our children proud” mantra, and they’ve proven that you can be global, massive, and “indie” all at once, without losing the soul that made them cool in the first place.
What’s a piece of work you’re most proud of?
For Horticulture Innovation (aka Hort Innovation), we have created an enduring brand platform for bananas, allowing consumers to use a banana to gain entry into gyms and swimming pools around the country.
It is helping make bananas synonymous with energy, and driving increased consumption. I’m also really proud of the great work we do with NFPs like Lifeline, The Salvation Army, Leukaemia Foundation, and BCNA.
We often joke that we aren’t saving lives working in media, but it’s a privilege to support these businesses that do.
As a leader, how do you switch off from work and unwind after a busy week?
Perhaps ironically, I tend to unwind by being active. I am one of those crazy people who run marathons for fun, so if I’m not out running, I’m usually playing golf or out walking my ball-obsessed Kelpie, Hendricks.
What does success look like for you over the next 12 months?
Success is simple: more measured magic, delivered through Alchemy.
We want to be the agency that finally kills the siloed model by proving that Paid, Earned, Shared, and Owned work better when they’re born together.
Over the next year, we’re focused on scaling our Measured Magic to drive real behaviour change and business results, all while staying 100% transparent and agnostic.
Oh, and I’m also manifesting a number seven on the dart board for my Thinkerbelliversary… Come on, Margie, get practising!
What can the industry expect from your agency?
More Measured Magic.
We’re currently sitting on a pipeline of work that demonstrates why integrated agencies are the undisputed future of this industry. We’ve also levelled up our AI game to pair human intuition with a smarter toolkit, freeing up our Thinkers and Tinkers for pure creativity.
We’re here for shared wins and to make the world interesting. We’re not like other agencies.
We’re Thinkerbell. And we’re just getting started.
See here for past editions of IMAA Spotlight.
Main image: Kathryn Furnari