Kyle Sandilands has appeared in the Federal Court in Sydney as his legal showdown with ARN over the termination of his $100 million contract formally got underway.

The radio host is suing ARN and its subsidiary, the Commonwealth Broadcasting Corporation, alleging his contract was terminated without valid grounds and in breach of Australian Consumer Law.

The case follows ARN’s decision to terminate Sandilands’ deal after an on-air dispute with co-host Jackie ‘O’ Henderson.

Court hears arguments over validity of termination

Sandilands’ barrister, Scott Robertson SC, told the court the broadcaster’s decision to terminate the agreement was not justified.

“Our case is that the termination was invalid, and he’s entitled to continue the show, and is entitled to the payments under the broadcasting services agreement and under the intellectual property agreement.”

Robertson also sought an expedited hearing, telling Justice Angus Stewart that the dispute required urgent resolution as Sandilands pushed for reinstatement.

He said the “battlelines have really been drawn” in correspondence between each side’s lawyers.

ARN disputes reinstatement prospects

Tom Blackburn SC, acting for the Commonwealth Broadcasting Corporation, told the court the likelihood of Sandilands returning to air was limited.

He said the prospects of Sandilands being reinstated were “vanishingly small”.

The court was also told there was a disagreement over how long the matter would take to be heard, with Sandilands’ legal team estimating a three-day hearing, while ARN argued it could extend to two weeks.

Speaking outside court on Friday morning, Sandilands said: “I’m just happy that we can get in today and get the ball rolling. I just want to get back to work as quickly as possible.”

“I’ve got a family to support.”

When asked about the lead-up to the hearing, he described the period as “Traumatic.”

“Wish me luck,” he added before entering the court building.

Dispute follows on-air incident with Henderson

The legal action stems from an on-air exchange on 20 February, during which Sandilands told Henderson she was “off with the fairies.”

Henderson left the studio mid-show, telling Sandilands she would “never say things like that” about him.

ARN subsequently issued Sandilands with a two-week deadline to address what it described as “serious misconduct” before terminating his contract when that deadline expired.

Sandilands claims dismissal was unjustified

In court filings, Sandilands’ legal team argued the exchange was consistent with the program’s established tone.

“The exchange was congruent with the style, tone and nature of the Show and the robust character that [ARN] ‘desired’.”

His lawyers also argued that even if a breach had occurred, he was not given a reasonable opportunity to remedy it.

Sandilands claims he is still owed more than $85 million under the deal agreed in 2023.Financial details of contract revealed

Legal documents filed with the court outline the terms of the agreement, including a $7.4 million base salary, a $120,000 annual flight allowance, $500,000 in advertising for his products, a $200,000 consultancy fee, and sublicensing fees to his company, Quasar Media, worth $2 million annually.

This is a developing story.

Main image: Kyle Sandilands. Source: Nine

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Following Southern Cross Austereo’s acquisition and subsequent merger with Seven West Media, LiSTNR is accelerating its shift beyond audio, pushing deeper into video, creators and adtech as it adapts to changing audience behaviours and a more competitive digital landscape.

The platform’s latest move into influencer-led campaigns and video formats signals a clear next phase, as LiSTNR expands how it reaches audiences and how it delivers for advertisers across platforms.

That strategy was reflected in SCA’s annual showcase on Thursday night, where the company outlined how LiSTNR’s expansion into video, creators and cross-platform campaigns is being operationalised.

More than 250 clients and industry partners attended the event, held at the Museum of Contemporary Art’s Harbourside Room in Sydney.

The showcase centred on LiSTNR’s evolving role within SCA’s broader offering, with a focus on how the platform is combining broadcast, podcasting and creator-led content to deliver both scale and engagement for advertisers.

A panel, hosted by SCA’s Georgie de Visser, and featuring Beau Ryan, Tommy Little and Britt Hockley, highlighted how talent is now extending across radio, podcasting and social platforms.

While a second panel, hosted by SCA’s Head of Sports, Ewan Giles, and Seven’s Director of Network Sport, Chris Jones, focused on the opportunities created by SCA’s merger with Seven West Media, particularly in sport and premium video. The session also included James Brayshaw and Aaron Woods.

The event concluded with a performance by Kelli Holiday.

Influencer push signals next phase

The podcasting platform has announced it is extending its offering into the creator economy through its Influencer Extender, powered by Fabulate, adding a social layer to campaigns bought across broadcast and audio.

The product reflects a broader evolution of audio as an influencer medium, enabling campaigns to scale across radio, streaming, social and now video.

SCA said it is the only media organisation in the market offering a unified TV and audio solution with a built-in social extension, allowing advertisers to extend campaigns across channels while maintaining measurement and reach.

At the same time, LiSTNR said it is deepening its focus on video podcasting, testing formats with multiple creators to unlock incremental reach and engagement.

Campaigns combining host-read ads with video content have already delivered more than 4,300 in incremental organic reach across platforms, highlighting the upside of multi-format strategies.

LiSTNR said its approach remains platform-agnostic, giving audiences flexibility in how they consume content while providing advertisers with clearer measurement across both audio and video.

Executive head for LiSTNR commercial, Olly Newton, said the expansion marks the next stage of growth.

“LiSTNR’s expansion into multi-format audio, video, creator-led content and influencer collaborations signals our next phase of growth, extending beyond audio to connect with audiences wherever they are, in the formats that suit them best.”

Strategy meets execution as digital drives growth

The shift into creators and video aligns closely with the direction SCA flagged just weeks earlier, when it positioned digital, and LiSTNR in particular, as its long-term growth engine.

The newly merged company’s H1 FY26 results showed that LiSTNR delivered revenue growth and positive EBITDA, while Seven’s 7plus posted double-digit revenue growth in the half, reinforcing the growing importance of digital assets across the combined business.

Speaking to Mediaweek following the results, CEO John Kelly pointed to the scale opportunity still ahead.

“The reality is there’s 15 million signups in 7plus, only 2.5 million in LiSTNR,” he said.

He described the opportunity to “cross-pollinate not only the signups, but the activity on platforms” as “massive,” adding that digital assets will “clearly be the growth engine of the company moving forward.”

The latest expansion into influencer-led campaigns, video formats and cross-platform delivery shows how that strategy is now being executed, with LiSTNR increasingly positioned as a key commercial driver within the business.

Adtech investment enters next phase

Alongside its content expansion, LiSTNR is advancing its AdTech Hub, introducing Precision+, an AI-powered product built on first-party data.

The company said the technology delivers deeper audience intelligence, real-time optimisation and more effective digital audio strategies for advertisers.

The AdTech Hub, now entering its second year, also supports dynamic creative optimisation and privacy-first data matching through clean room solutions.

These developments build on LiSTNR’s continued investment in data, technology and content as it strengthens its commercial offering and measurement capabilities.

Building a multi-format audio ecosystem

Five years after launch, LiSTNR has grown into an integrated platform spanning live radio, podcasts, music, news, sport and entertainment.

The platform now reaches an estimated ten million Australians each month across streaming, podcasting and music consumption, supported by more than 2.5 million signed-in users.

Its content slate includes titles such as Hamish & Andy, The Howie Games, The Imperfects, Happy Hour with Lucy & Nikki, Life Uncut and The Inspired Unemployed, alongside broadcast simulcasts and digital-first formats.

SCA said its early investment in podcasting, original content and creator partnerships has underpinned LiSTNR’s growth in audience, premium content and monetisation capabilities.

Main image: Nathan Roye, Kelli Holiday, and Emma Chow

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OpenAI is extending its advertising pilot for ChatGPT beyond the US, with Australia and New Zealand next in line as the company looks to scale ad-supported access while maintaining user trust.

The move follows early testing in the US, where ads are currently shown to logged-in adult users on the Free and Go tiers, with no ads appearing on the Plus, Pro, Business, Enterprise, or Education plans.

Ads without influence

OpenAI said ads will not influence ChatGPT’s answers, with clear separation between sponsored content and organic responses.

“ChatGPT’s answers remain independent and unbiased,” the company said, adding that ads are labelled and visually distinct from responses.

Ad placements will be matched to conversation topics and user interactions, but advertisers will not have access to individual chats, personal data or conversation history.

Instead, advertisers receive only aggregated performance data such as impressions and clicks.

Privacy and control at the core

The rollout includes safeguards to protect user privacy and experience.

Ads will not be shown to users under 18 and will not appear alongside sensitive topics such as health, mental health or politics.

Users will also have control over their ad experience, including the ability to dismiss ads, manage personalisation settings and delete ad data.

Funding free access

OpenAI said the introduction of ads is designed to support broader access to ChatGPT, particularly as infrastructure and development costs continue to grow.

“Ads help fund that work, supporting broader access to AI through higher quality free and low-cost options,” the company said.

If users prefer not to see ads, they can upgrade to paid tiers or opt out in exchange for reduced usage limits.

Early signals and next phase

OpenAI said early results from the pilot have been encouraging, with no impact on trust metrics and low ad dismissal rates.

The company will now expand testing across new markets, starting with Australia, Canada and New Zealand, with further global rollout expected later this year.

“Our focus with this test is learning,” OpenAI said, noting it will continue refining ad formats, relevance and safeguards based on user feedback.

The expansion signals a broader shift toward conversational advertising, in which ads are integrated into user-intent-driven experiences rather than traditional interruptive formats.

Top Image: OpenAI

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John Guanzon did not even have a speech prepared.

When he entered the 2025 Mediaweek Next of the Best Awards, he made no assumptions that it would lead to anything beyond attending a sensational awards night and enjoying a terrific dinner.

But winning in the Publishing Innovator category proved transformative. The recognition shifted how the industry perceived the value of his work, opened unexpected doors, and gave him the confidence to step into much bigger conversations.

Rewarding the infrastructure

At the time of his win, Guanzon served as the head of creative and production at Man of Many. He took home the trophy for building smarter, scalable content systems and social-first video models.

“What made the recognition particularly meaningful was that it acknowledged not just standout campaigns, but the thinking, structure, and infrastructure behind them,” Guanzon says.

This is the exact operational layer the Next of the Best Awards celebrate. We want to recognise the people building the engine, not just the people standing on the stage when the campaign goes live.

Leadership in motion

Since his win, Guanzon has accelerated his career trajectory. He recently stepped into a new role at Amplify as Head of Production, APAC, heading up all of the organisation’s social-first production across the region.

Sitting at the intersection of creative, production, and strategy at the social-first agency, he now leads multidisciplinary teams across the region. Guanzon shapes how content gets made at a global scale, designing frameworks built around first-frame behaviour, scroll fatigue, and platform nuance.

He also oversees a central production and post-production engine in South East Asia. His focus remains on building strong workflows and talent models so teams across different regions can move quickly without flattening cultural nuance or creative intent.

Back yourself earlier than you think

For those operational leaders driving the commercial core of the industry right now, Guanzon offers one clear piece of advice: back yourself earlier than you think you are ready.

“Awards won’t define your talent or professional capabilities, but they can accelerate your trajectory if you let them,” he says.

Guanzon points out that the real value often lies in the submission process itself. Collating your achievements forces you to articulate your thinking, reflect on your commercial impact, and take ownership of your contribution.

Even before the executive judges review your work, that clarity remains incredibly powerful.

“Sometimes, the opportunity you’re waiting for only appears once you put your hand up,” Guanzon says.

We evolved the 2026 Mediaweek Next of the Best Awards for exactly this reason.

And the streamlined entry process across 16 industry relevant categories will make taking your place quick and easy.

It is time to put up your hand.

Feature image- John Guanzon, Head of Production, APAC, Amplify: file

Take your place. Enter now.

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New details have emerged in the case of weather presenter Amber Sherlock’s 2025 dismissal by Nine.

As reported previously, Sherlock has accused her former employer of taking her off air her based on her age. At the time of her sacking in November 2025, she was three weeks away from her 50th birthday.

The Australian Financial Review now reports that Sherlock claims that around August to September last year, she had a meeting at the BarLume cafe in Nine’s headquarters in Sydney with head of news Fiona Dear. Sherlock said Dear told her that her job was not at risk as the company sought to cut costs.

“You’ll be here forever, we’ll wheel you and Pete [Overton] out of here,” Sherlock alleges Dear told her.

The AFR reports that Sherlock claims that by November 10, news director Michael Best told her that her role was being made redundant.

Sherlock reportedly alleges in court documents filed against Nine that a letter from them stated the company would “explore redeployment opportunities”. She says she expressed interest in three NSW-based journalist roles during the November 10 meeting.

However, Best told her in a subsequent meeting that “there were no redeployment prospects available in the Sydney newsroom.”

According to the AFR, Sherlock alleges three colleagues in their 30s – Maggie Raworth, Kate Creedon and Sophie Walsh – were not made redundant and were given her responsibilities.

“Nine’s decision to redeploy the individuals identified … was taken because each of those individuals is at least 10 years younger than the applicant,” Sherlock’s court documents state, adding, “of a hybrid combination of … age and sex (that is: because she was an almost 50-year-old woman)”.

Sherlock speaks to Stellar about her job loss

In March this year, Sherlock spoke on the Stellar podcast about her redundancy.

“I always joked they’d never have a 50-year-old weather presenter. Who knew I was being prophetic in that?” Sherlock said.

“I don’t think it was a financial reason. It’s unfortunate and I think the people that have gone on and are stepping into the role I was doing are 10 to 15 years younger than me.”

She added, “Over the course of Nine, I think I’ve done over 5000 bulletins. I mean, that’s a lot. I was so privileged to have the opportunity to be in people’s lounge rooms.

“Now being replaced by 20-or30-year-olds – I know Hollywood might have a lot to answer for because maybe 50-year-olds are looking like 20- or 30-year-olds – management [must] accept that people are OK seeing themselves reflected on the TV.”

Nine responds to Amber Sherlock

A Nine spokesperson said at the time Sherlock filed her claim:

“Nine does not discriminate against any individual on the basis of age or any other factor.

“We strongly reject any suggestion that this influences any decision to remove a role that is no longer required in our business.

“The dedicated role of the 6pm weather presenter for 9News Sydney was made redundant in November 2025.

“Since then, a number of different reporters and presenters have presented the 6pm weather in addition to filling other roles across the network.”

Sherlock is reportedly seeking $293,154 for economic loss, $100,000 in general damages for hurt to her reputation and career, and $30,000 for each contravention of the Fair Work Act.

Top image: Amber Sherlock on Nine. Image: Instagram

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Television journalists remain the highest paid in the industry, according to the 2026 Australian Media Landscape Report.

The report, issued by MediaNet and based on responses from more than 800 journalists, found over half (51%) of those working in television earn more than $100,000 annually, up from 44% in the previous survey.

Podcasting followed closely, with 48% of journalists earning $100,000 or more, while digital (32%), print (29%), and radio (28%) trailed.

Despite pockets of salary growth, financial pressure remains a defining issue across the profession. For the fourth consecutive year, money was identified as the greatest personal challenge facing journalists.

The most common salary band in 2025 sat between $60,000 and $79,999, followed by $80,000 to $99,999. The proportion of journalists earning more than $100,000 rose slightly, from 31% in 2024 to 33% in 2025.

The data, which are not adjusted for inflation and do not account for employment types, also point to a narrowing gender pay gap. Thirty-five per cent of male journalists reported earning $100,000 or more, compared to 32% of female journalists. Eight per cent of non-binary journalists reported earning at that level.

The shift marks a notable improvement over the previous year, when 38% of male journalists reported earning $100,000 or more, compared with 23% of female journalists.

Location and employer type drive salary gaps

Where journalists work continues to play a major role in earnings. Those based in metropolitan areas reported significantly higher salaries than their regional and suburban counterparts, who were more likely to fall into the sub-$60,000 bracket.

Journalists working in publicly funded or government-funded media organisations were among the highest-paid, with 51% earning $100,000 or more annually.

At the other end of the spectrum, community media workers reported the lowest salaries, with just 10% earning above $100,000 and more than half (52%) earning $60,000 or less.

Press releases become dominant source

The report also highlights a continued shift in how stories are sourced.

Press releases are now the most commonly used source for journalists, with 86% of respondents relying on them in 2025. This places them ahead of traditional industry and professional contacts, which historically dominated newsroom sourcing.

AI overtakes fake news as top threat

The report also signals a shift in how journalists view the risks to public-interest journalism.

For five consecutive years, the rise of disinformation and fake news ranked as the top concern. In 2026, it will have been overtaken by changes in how audiences consume information due to artificial intelligence.

Concerns around AI are widespread, with 93% of respondents saying they are worried about the impact of generative AI and large language models on the integrity and quality of journalism.

Main image: ‘Anchorman’ movie still

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Hollywood actor Ben Affleck has sold his artificial intelligence company to Netflix – a surprise to many because he kept his ownership of the company, InterPositive, under the radar for years.

It’s also attracted controversy as Affleck had previously played down AI’s creative abilities.

Earlier this year, he told controversial podcaster Joe Rogan he did not think AI would have the capacity to “write anything meaningful” or make films “from whole cloth”.

However, in a March 6 video announcing the deal, Affleck said he had changed his mind about AI; initially being worried about its potential impact, but now viewing it as a “really meaningful innovation”.

Affleck said InterPositive did not provide video generation tools such as Google’s Veo3 or OpenAI’s Sora – it was “not about text prompting or generating something from nothing” – but instead helped in the post-production process.

Announcing the acquisition, Netflix said: “We believe new tools should expand creative freedom, not constrain it or replace the work of writers, directors, actors, and crews.”

Affleck founded InterPositive in 2022 by creating an “AI model trained to understand visual logic and editorial consistency, while maintaining cinematic rules under real-world production challenges such as missing shots or incorrect lighting.”

He added, “We also built in restraints to protect creative intent, so the tools are designed for responsible exploration while keeping creative decisions in the hands of artists.”

Affleck will also be joining Netflix as a senior advisor as part of the deal – which if for an undisclosed sum.

As the news, not only of the sale, but of Affleck’s ownership of an AI company, began to spread, online backlash also grew.

 

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A post shared by The Ankler (@theankler)

The Ankler calls out Ben Affleck

Along with social media reaction about the new information, news/commentary site The Ankler called Affleck out in a strongly-worded Instagram post – at a time when creative industries across the world become increasingly concerned with protecting their work.

The post asked: “Why did Ben Affleck start an AI company in secret?”

The caption reads: “The real AI fight in Hollywood isn’t about stopping the machines. It’s about control.

“Who owns the data? Who licenses the likeness? And who gets paid when it’s a digital version of a movie star on the screen?

“Unlike the generative models inspiring outrage across the industry, AI production tools and synthetic performances are increasingly embraced by the same public figures signing anti-AI letters.

“Affleck’s Netflix deal points to a future in which performers are essentially IP.”

The Ankler also says, “For the past few weeks, Hollywood has been in full AI panic mode. Open letters, full-page ads, think pieces and social media campaigns have warned that artificial intelligence could upend the economics of creative labor.

“Meanwhile, Ben Affleck was building an AI company.”

Top image: Ben Affleck/Instagram. Image credit: Netflix/Instagram

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Abe’s Audio has engaged former ARN chief strategy officer Lauren Joyce in a strategic partnership, bringing her in on a project basis to help drive new client partnerships and shape the company’s next phase of growth.

Joyce will operate under her ‘Gun For Hire’ model, working across a portfolio of businesses rather than in a permanent role.

Her focus will be on focus on high-impact strategic and creative outcomes.

Abe’s Audio founder Abe Udy said the partnership is designed to inject fresh thinking and accelerate momentum.

“Lauren’s a gun for hire – she’s got deep expertise in media, marketing and leadership at the highest level, but more importantly, she understands where the pressure points are for agencies and clients right now,” Udy said.

Joyce will work alongside the business to identify new growth avenues while continuing her broader advisory work across the industry.

Industry shift driving demand for flexible expertise

Joyce said the partnership reflects a broader structural shift in how companies access senior capability.

“There’s a growing gap between what the industry needs and how it’s traditionally structured to deliver it,” Joyce said.

“Businesses don’t necessarily need more people – they need the right expertise, applied at the right moment to unlock growth.”

She pointed to Abe’s Audio’s existing production capabilities as a key factor in the partnership.

“What stood out to me with Abe’s Audio is that they’ve already built a highly effective creative production engine – delivering against the industry’s obsession with the ‘Iron Triangle’ of speed, cost and quality.

“But more importantly, they’ve developed capabilities that many media companies simply don’t have the resources to invest in right now. That creates a genuine opportunity for partnership,” Joyce said.

The partnership comes as Abe’s Audio looks to build on its 25-plus year track record across voice, sound design and creative audio, working with agencies, brands and media companies in Australia and internationally.

Main image: Lauren Joyce

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Fabulate has been selected as a launch partner for YouTube’s new Creator Partnerships API, marking a step forward in how brands access and evaluate creator data.

The announcement was made at the 2026 YouTube NewFront event in New York, where YouTube unveiled the API designed to help commercial partners better facilitate, manage and scale brand deals on the platform.

Deeper data for brands

The integration will allow brands using Fabulate’s Discovery platform to access richer and more accurate creator insights, including audience demographics such as age, gender and location, as well as engagement rates and average video view duration.

Fabulate has already made the API live on its platform, ensuring real-time access to updated YouTube creator data for brand partnerships.

Scaling creator partnerships

Nathan Powell, Chief Product and Strategy Officer at Fabulate, said the partnership strengthens the platform’s data capabilities.

“We could not be more thrilled to be a partner of choice for YouTube in their new API program,” Powell said.

“We have always prided ourselves on Fabulate’s Discovery product having the richest creator insights possible, and this new program ensures that brands can pair with creators who are able to truly achieve the client’s brief.”

Momentum across APAC

The partnership comes as Fabulate continues to expand its footprint across the APAC creator economy.

Over the past year, the company has opened a Singapore office and was named Best Influencer Marketing Platform by MARKETECH APAC.

It has also been recognised in the Deloitte Tech Fast 50 for two consecutive years.

Top Image: Fabulate

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QMS has reported strong audience growth across its City of Sydney digital street furniture network during the 2026 Sydney Gay and Lesbian Mardi Gras Festival.

Across the network, audiences increased 9% during the festival period, with interstate audiences jumping 16%, highlighting the event’s growing national appeal.

The Oxford Street precinct, the centre of Mardi Gras celebrations, delivered some of the strongest results.

Audience numbers across the precinct were up 23% during the festival, while evening audiences surged 58% on parade night.

Interstate audiences in the area also rose sharply, up 31% on parade day, with visitors from Queensland and Victoria leading the influx.

Growth across the city

The uplift extended beyond the parade route, with multiple suburbs across the QMS network recording strong audience gains.

Newtown led the growth with a 46% increase, followed by Chippendale, Glebe and Ultimo, each up 13%. Camperdown and Redfern recorded 11% increases, while Waterloo, Erskineville, the Sydney CBD and Alexandria each saw 8% growth.

Brands tap into scale

QMS used the festival to showcase campaigns from brands including Westpac, Pernod Ricard, Belvedere and Up, leveraging the scale of crowds across its premium network.

Olivia Gotch, General Manager, City of Sydney at QMS, said the results reinforce the event’s cultural and commercial impact.

“Mardi Gras continues to prove its power as one of Australia’s most significant cultural events. The audience numbers we saw this year confirm that the festival draws enormous crowds not just to the parade route but across the entire city,” Gotch said.

“We’re also seeing the festival’s interstate reach expand year on year, which is a further signal of Sydney’s standing as a global LGBTQ+ cultural destination.”

OOH scale in focus

Gotch added that the network’s reach makes it a valuable platform for advertisers during major cultural moments.

“For advertisers, that means the network can ensure their brand will reach and connect with genuine audiences at scale,” she said.

The results were based on DSpark Mobility Data, comparing audience delivery during the festival period against the previous three weeks.

Top Image: QMS

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The Australian Communications and Media Authority will replace the Telecommunications Consumer Protections Code with an enforceable industry standard, in a move designed to strengthen safeguards for telco customers.

The industry-developed code has been the main consumer protection mechanism for residential and small business customers in Australia. It covers areas including advertising, responsible selling, treatment of vulnerable consumers, and credit and debt management.

Why ACMA is replacing the code

Nerida O’Loughlin, Chair of the ACMA, said direct regulation would deliver stronger protections as telecommunications services become more essential to daily life.

“Consumer reliance on telecommunications is far greater today than when the current code was made in 2019,” O’Loughlin said. “The harms to consumers are also greater when services are unavailable or protections are lacking.”

She said recent network outages, Triple Zero disruptions, issues linked to the 3G shutdown process, and concerns around responsible selling had undermined confidence in the sector.

“Now is the time to move the remaining consumer protections into direct regulation so that expectations are consistent, obligations are clear and are backed by stronger and more immediately available enforcement powers for the regulator,” she said.

What the new standard is expected to cover

According to the ACMA, the new standard is intended to give consumers greater confidence that telcos are selling services fairly and not offering products customers cannot afford or that fail to meet promised coverage or service levels.

“For example, telco consumers must have confidence that selling practices are fair and that they will not be sold services they cannot afford, do not deliver the service for which they paid or the coverage they have been promised,” O’Loughlin said.

The regulator noted it has already shifted several safeguards from industry codes into enforceable standards in recent years. These include complaint handling, financial hardship obligations, and protections for people experiencing domestic and family violence.

What happens next

The decision follows an industry consultation and development process that began in 2023 through the Australian Telecommunications Alliance and its predecessor.

Under the Telecommunications Act 1997, industry must first be given the opportunity to develop codes of practice before the ACMA can impose a standard.

O’Loughlin said the regulator acknowledged the work undertaken by the alliance and its members, but said the process had not produced a code suitable for registration.

“However, the ACMA still does not have before it a code capable of registration,” she said. “We have also considered the contemporary expectations of consumers and decided that moving to an industry standard is now necessary.”

The ACMA has now started the process to determine an industry standard under section 125 of the Telecommunications Act 1997. The process will include a period of public consultation.

The existing 2019 TCP Code will remain in force until the new standard begins. Once the standard commences, the code will cease to be registered.

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