Southern Cross Austereo (SCA) has posted strong financial results for the first half of FY25, with revenue rising 5.3% to $209.7 million and EBITDA up 24.6% to $24.1 million. Net profit after tax (NPAT), including discontinued operations, reached $3.2 million, reflecting a 5.5% increase year-on-year. The positive momentum was driven by SCA’s continued strength in metro and regional radio, expanding digital audio revenues, and disciplined cost management.

Audio first

SCA is making a decisive shift towards digital and audio, with CEO John Kelly highlighting the company’s continued growth in key revenue areas. With its streaming platform LiSTNR now profitable and digital audio revenues up 48%, SCA is reinforcing its position as Australia’s fastest-growing audio company. The shift comes alongside the company’s exit from television, a move Kelly says will allow SCA to focus entirely on audio while strengthening its hyper-local approach to radio broadcasting.

LiSTNR’s rapid growth fuels digital expansion

SCA’s digital audio business has seen a notable rise, with LiSTNR now boasting 2.2 million users and achieving EBITDA profitability for the first time. Digital revenue surged 42% year-on-year to $22.1 million, and the platform continues to outpace its competitors. “For LiSTNR, which is our digital audio business, the fact of the matter is that on a trailing 12-month basis for the year to date 24, our revenues are $42 million, which is double that of our nearest domestic competitor,” Kelly said.

Unlike other media businesses struggling with audience fragmentation, SCA has managed to grow its metro and regional radio audiences while expanding its digital footprint. “We’ve had great audience success across metro, regional, and digital. We’ve got the number one 25-54 network in metro, the largest audience on scale in regional, and the best-known and addressable audience of 2.2 million on LiSTNR,” Kelly explained. He also emphasised that digital audio and traditional radio are working in tandem, rather than competing against each other. “We’ve been able to grow all different lines of revenue across the half. We’ve been able to grow revenue share and audiences in metro radio while growing our digital audio share and revenues. So there’s no cannibalisation between the two.”

An integrated approach to advertising

With LiSTNR now established as a profitable part of SCA’s business, the company has focused on refining its advertising strategy to maximise opportunities across all platforms. Kelly explained that SCA has developed a multi-tiered approach that allows advertisers to buy into its ecosystem in different ways. “We have a broadcast selling mechanism in relation to the broadcast spots on radio, traditional radio. We have streaming of radio on LiSTNR, which is a separate sell. And then, of course, we have podcasts, music, and sport on LiSTNR, which we sell separately as well,” he said.

Kelly sees significant growth potential in the digital audio market, particularly in competing with dominant international players. “The two things about LiSTNR that are important are the significant available inventory and the fact that it is an emerging part of media and an emerging part of the buying landscape,” he said. He pointed out that while platforms like Spotify have been around for years, there is still substantial untapped potential in the Australian market. “Spotify has almost three times, two times the value of advertising for their free model than the entire of the commercial radio digital players combined. So the opportunity for us is to go after a collective Spotify advertising, which has been programmatic for many years.”

With the increasing attention audio receives from audiences, Kelly believes advertising revenue will continue to shift in that direction. “There’s a huge opportunity for us to grow our share of revenue in the audio market to more appropriately match the attention share that audio gets,” he said.

A complete exit from television

SCA’s financial results also mark the company’s full transition away from television, with the sale of its regional TV assets to Australian Digital Holdings (ADH) and Network Ten. Kelly explained that the move was long-planned and aligns with the company’s focus on audio. “We’ve been very clear for 18 months now – we want to be all about audio because the TV assets are regional assets,” he said.

He noted that these assets are better suited for networks with national infrastructure. “The main part of our TV assets were Ten-related services in regional Queensland, New South Wales, and Victoria. They’re much better placed belonging to the network – being Ten Paramount – because they’ve got all the infrastructure and efficiencies to run not just the metro network, but the regional network as well.”

The sale also addresses challenges in selling regional TV inventory separately from metro campaigns. “From a revenue perspective, as you can imagine, when they go and sell a campaign on I’m a Celebrity, Get Me Out of Here! to Bunnings, and they go to them and say, ‘Do you want to do a campaign on that show?’ they say, ‘Yeah, we’ll give you X.’ If we then go two weeks later to Bunnings and say, ‘We also want you to advertise as a sponsor across regional Australia,’ you’re not going to get the same one plus one equals two.”

Hyper-local radio as a differentiator

As SCA transitions to a fully audio-focused company, it is doubling down on its commitment to local radio. Kelly emphasised that local content is at the heart of SCA’s strategy. “We’ve decided, unlike some of our competitors, to go hyper-local, particularly in breakfast across Australia,” he said. “We’ve got 88 radio stations across Australia, and all those stations have locally based, locally hosted breakfast shows.”

This approach, he explained, is designed to strengthen community engagement and build closer relationships with advertisers. “We are looking to activate in communities, not only with the listeners, but also with our business partners. And it doesn’t matter if you’re in Bunbury in WA, Hobart in Tasmania, or Cairns in Queensland, you’ll see our announcers out in the community, not only engaging with listeners but activating business partners,” he said.

Kelly believes that this local-first strategy will help SCA stand out in an increasingly globalised media landscape. “As the world conclusively goes global, if we can go increasingly local, then that’s going to be our best opportunity to have the best possible audio radio broadcast model moving forward. So we’re big believers in that.”

The future of SCA: Focused on audio growth

With LiSTNR scaling up, an integrated advertising approach in place, and a complete exit from television, SCA is positioning itself for sustained growth in digital and audio. “We’re on fire with LiSTNR, and we’re excited about the future of LiSTNR in terms of its growth,” Kelly said. By leveraging its dominance in metro and regional radio while growing its digital presence, SCA is betting on audio as the future of its business.

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WPP has posted weak results for 2024, reporting a 1.0% fall in revenue less pass-through costs of USD $14.38 billion (£11.35 billion), missing -0.4% forecasts.

In response, the holding company is set to increase investment in AI, data and tech through WPP Open across the business and clients in the year ahead. WPP is also looking to drive creative transformation with clients across creative, production, commerce and media and improve the competitiveness of its media offering.

Increasing operational efficiency and optimising investment allocation will also be WPP’s focus in the year ahead.

WPP’s weak 2024 results come after rivals Publicis Groupe reported organic revenue growth of 5.8% year-over-year and Omnicom Group posted 5.2% organic growth last year.

Cautious but confident

Mark Read, chief executive officer of WPP, said: “We achieved significant progress against our strategy in 2024 with the creation of VML, Burson and the simplification of GroupM – some 70% of our business. We sold our stake in FGS Global to create significant value for shareholders. And we increased our margin, while stepping up our investment in AI through WPP Open, which is now used by 33,0006 people across WPP.

“The top line was lower, however, with Q4 impacted by weaker client discretionary spend. We did see growth from our top 25 clients of 2.0% and an improving new business performance in the second half of the year with wins from Amazon, J&J, Kimberly-Clark and Unilever reflecting the strength of our integrated offer.

“The actions we are taking across WPP will strengthen our existing client relationships and drive our new business results. We expect some improvement in the performance of our integrated creative agencies in the year ahead. At the same time, we have comprehensive efforts underway to improve our competitive positioning through new leadership at GroupM, with further investment in AI, data and proprietary media.

“Though we remain cautious given the overall macro environment, we are confident in our medium-term targets and believe our focus on innovation, a simpler client-facing offer and operational excellence will support our growth and deliver greater value for our shareholders.”

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Long-time Nine presenter Danika Mason will step into the role of sports presenter on The Today Show following the departure of Alex Cullen over a $50k gift controversy.

Mason is already a familiar face for Nine viewers, thanks to her work 9News, The Sunday Footy Show, NRL on Nine, and Wide World of Sports.

The announcement was made during the show’s broadcast today, with Mason in Las Vegas with host Karl Stefanovic for the NRL.

When asked by co-host Sarah Abo how she was feeling, a clearly elated Mason replied: “I’m so excited for what’s to come”.

Nine’s director of morning television, Steven Burling, said: “Danika has filled in many times on Today and has a fantastic rapport with the entire hosting team. We’re pleased to see her bringing a wealth of experience and passion for sports to our viewers.”

Since joining Nine in 2012, Mason has reported on major sporting events, including the State of Origin, NRL Grand Finals, and the Australian Open, bringing live updates and in-depth analysis to audiences.

Speaking about her appointment, Mason said in a statement that it was a “full circle moment for her”.

“Just 10 years ago, my first-ever job at the network was producing sport for Today,” she said.

“I’m truly honoured and so excited to be joining Today. It’s been a dream of mine since I was a kid, waking up every morning to watch the show as I set my sights on a career in sports broadcasting.

“I’m also very grateful that I’ll still be working with the Wide World of Sports crew on the footy every week throughout the NRL season,” she said.

Mason’s appointment comes just over a month after her predecessor, Cullen, stood down from his role after controversy erupted over his acceptance of a $50,000 gift from billionaire Adrian Portelli.

At the time Today host Stefanovic confirmed Cullen’s departure on-air, describing him as a “terrific fella” and praising his five years with the team. “We’re going to miss him terribly,” Stefanovic said, wishing Cullen and his family all the best.

The drama began after Portelli, eager to ditch his “Lambo Guy” label, offered the cash to the first TV journalist to call him “McLaren Man.” Cullen took the bait during a lighthearted exchange on Today with Karl Stefanovic last Friday, only to face disciplinary action from Nine soon after.

The network immediately sidelined the host, releasing a statement to the media saying they were arranging for the money to be returned to Portelli, adding they were taking the matter “very seriously”.

Pictured: Danika Mason

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ARN has pulled off a 9% revenue increase in group revenue, reaching $365.6 million, with EBITDA up 30% to $93.1 million, despite some tough economic conditions. CEO Ciaran Davis credits it to smart international expansion, digital innovation, and keeping a close eye on costs. In a chat with Mediaweek, Davis shared how ARN is staying ahead, what’s driving their transformation, and why digital audio is shaping up to be a big opportunity.

Hong Kong expansion

One of the biggest boosts to ARN’s revenue came from its Hong Kong operations, thanks to major contracts with the city’s tram network and KMB bus body advertising. These deals, secured in mid-2023, made a big impact.

Back home, things were a bit more of a mixed bag. “It’s been a stable result, with revenues pretty much flat,” Davis says. “Some areas did really well, our national share was strong, digital performed great, but metro was a bit behind, mainly due to audience shifts at Gold.”

To tackle this, ARN has rebranded WSFM as Gold in Sydney and is ramping up marketing for Gold 104.3 in Melbourne, supporting Christian O’Connell’s breakfast show. The goal? To make sure they’re hitting the all-important 25-54 age bracket that advertisers love.

$40 million in cost cuts and a digital-first future

ARN has big plans to cut $40 million in costs over the next three years while shifting towards a fully digitised audio business. While Davis didn’t go into specifics about where those cuts will land, he made it clear that this isn’t just about saving money, it’s about setting up for long-term success.

“In the past, when revenue was down, we’d trim discretionary spending like marketing,” he admits. “Now, we’re stepping back and looking at how we can fundamentally reshape the business.”

That means investing in three big areas: content creation, distribution, and monetisation. AI and smarter tech will also play a key role in making operations more efficient and data-driven. “AI helps us make better decisions, faster,” Davis explains. “We’re not just making small tweaks, we’re rethinking the whole process.”

ARN chairman Hamish McLennan echoed this sentiment, saying during the company’s investor call that the transformation would position ARN as “the most profitable audio business in Australia.”

Digital audio is booming

ARN’s digital audio revenue shot up 28% in 2024, with iHeartRadio now boasting 2.9 million registered users (up 10%). A key driver? ARN’s move to monetise live streaming inventory separately from traditional radio, something Davis believes will only accelerate digital revenue growth.

“The industry broke out live listening to digital formats in the GfK measurement last year,” he says. “Some competitors jumped on monetising that straight away, but we wanted to see how the market responded. Now, we’re rolling it out at scale, and I see that growth continuing.”

Podcasting has also been a standout performer, with strong sales helping drive overall digital revenue. In the second half of 2024, ARN’s digital audio segment turned a profit for the first time, with direct-sold digital products growing almost twice as fast as the wider market.

Kyle and Jackie O’s Melbourne expansion: A long-term play

ARN’s move to bring The Kyle and Jackie O Show to Melbourne in 2024 was a major move in their strategy. While some expected them to dominate overnight, Davis always knew it would take time.

“It was never going to be instant,” he says. “In Sydney, they’ve been number one for 25 years. In Melbourne, we need to build familiarity, introduce the characters, the content, and what makes them unique.”

So far, the KISS network has held strong, with Sydney delivering record revenue share and Melbourne holding steady. The focus now is on more localised activations, continued marketing, and audience engagement to build a loyal fanbase over time.

The future of audio: A big opportunity

Davis sees massive potential for audio in Australia, pointing out a clear gap between consumption and ad spend. “People spend around 21% of their daily media time with audio, yet it only gets about 8% of advertising dollars,” he said. “That’s a big opportunity.”

A major industry initiative is the rollout of Audio ID, which will help improve digital audience targeting and monetisation. “This is a game-changer,” Davis says. “It’ll help us and the industry make the most of our engaged audiences.”

“We’re not just building for today, we’re building for long-term, sustainable growth.”

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QMS has been making some serious moves in Sydney, shaking up the out-of-home (OOH) landscape and putting its digital stamp on the city in a big way. I sat down with Tim Murphy, chief sales officer at QMS, to unpack the strategy behind the company’s rapid expansion, what it means for advertisers, and where the business is headed next.

Cracking the Sydney market

For years, QMS was strong in Melbourne and Brisbane but had a gap in Sydney when it came to digital large-format presence. That all changed with a clear strategic push in mid-2023. Winning the highly sought-after Transport for NSW contract from JCDecaux was a game-changer, not just for QMS but for the entire OOH landscape.

“There was a very clear strategic priority around addressing that,” Murphy explained. “Building out large-format networks takes time, investment, and a lot of energy, but we’re now in a position where we can confidently talk about the outcomes we’ve delivered.”

And the results speak for themselves. The Transport for NSW win, combined with other key acquisitions like the Hills District contract and assets within the Australian Turf Club (ATC) and Australian Rail Track Corporation (ARTC), has significantly boosted QMS’s reach. In fact, since mid-2023, QMS has increased its digital large-format footprint in Sydney by an impressive 40%.

What this means for advertisers

For advertisers, this expansion isn’t just about having more screens, it’s about smarter reach. Murphy highlighted that QMS’s network now covers 96% of Sydney’s population weekly, making it a true national player with a five-city metro footprint.

“Over the past two months, we’ve seen major advertisers jumping on board, Stan, Paramount, Kia, CBA, Virgin, and big players in the alcohol space like Asahi,” Murphy said. “The increased reach is making OOH a critical component of national campaigns.”

With the rise of programmatic OOH, brands are also using digital inventory in new ways, blending brand-building with performance-driven activity. Murphy said programmatic spend is growing at 45–50% month-on-month, showing no signs of slowing down.

The future of OOH: Innovation & measurement

One of the most exciting shifts in the OOH space right now is measurement, and QMS is at the forefront. Murphy pointed to MOVE 2.0, which is finally set to launch mid-year. It promises a deeper understanding of digital’s impact compared to static formats, a long-overdue upgrade for the industry.

MOVE 2.0 has been in the works for what feels like forever, and if you’re wondering why it’s taken so long, you’re not alone. The short answer? It’s complicated. Rolling out a new audience measurement system across the entire out-of-home industry isn’t exactly plug-and-play. There’s been a ton of testing, calibration, and making sure the data actually delivers on its promise, better accuracy, deeper insights, and a clearer picture of how people engage with both digital and static OOH.

Plus, getting all the big players, media owners, advertisers, and agencies, on the same page takes time. No one wants to launch a half-baked system that advertisers don’t trust. So while the wait has been frustrating, the industry is betting big that when MOVE 2.0 finally drops, it’ll be worth it.

“We’re also continuing our work with Amplified Intelligence and Karen Nelson-Field on attention studies,” Murphy added. “Phase 2 of that research is coming this year and will dive even deeper into how digital OOH engages audiences.”

And then there’s the creative side. Murphy said QMS is doubling down on high-impact formats, including 3D, motion, and interactive creative that push the boundaries of what’s possible in OOH. While some locations (like high-speed arterial roads) have limitations, QMS is strategically combining different types of assets to maximise impact.

Looking ahead: What’s next for QMS?

So, where does QMS see itself in Sydney in the next couple of years? Murphy was clear: it’s not about being the biggest, it’s about being the best.

“We’re not pitching for every tender or chasing every opportunity,” he said. “We’re focused on building a premium, high-quality network that delivers real value to advertisers. That’s a different approach from others in the market, but it’s working for us.”

The City of Sydney network will also continue to evolve, with more flexibility, accessibility, and audience engagement opportunities. And as we head towards the Paris 2024 Olympics and Winter Olympics in 2026, Murphy teased that QMS has some exciting plans to showcase the role OOH plays in major global events.

“The out-of-home space is in a really exciting phase,” he said. “We’re seeing more long-term planning from advertisers, a greater appreciation for the role OOH plays in the media mix, and brands getting more creative with the space. It’s a great time to be in the industry.”

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In the years leading up to the pandemic, Val Morgan was on a winning streak. “If you look back at kind of 2018 to 2019, we had two incredible years of cinema,” recalls Paul MacGregor, director of strategy and marketing at Val Morgan. “That was driven by the Marvel franchise – Avengers: Endgame was probably the pinnacle of that.”

With audiences flocking to cinemas in record numbers and advertising opportunities thriving, Val Morgan was at its peak. But that momentum came to a screeching halt in early 2020.

The COVID-19 crisis: Business brought to a standstill

“We came off the back of that straight into COVID,” MacGregor says. “Cinema was on an absolute high, and then suddenly, the cinemas were shut. It was almost the worst possible situation that could happen for cinema -and then it kept getting worse and worse.”

For an advertising business built around cinema and out-of-home (OOH) media, the pandemic was a double blow. “It’s hard to sell cinema advertising when they’re all shut. We were in two of the worst verticals – cinemas were closed, and everyone was stuck at home because no one was allowed in public,” MacGregor explains.

While Val Morgan had a digital arm at the time, it was not yet at the scale needed to support the business fully. “In terms of revenue generation, it just wasn’t something we could rely on,” he admits. The company was forced to make difficult decisions, including downsizing staff.

Reinvention: A Strategic Shift to Survive

With traditional revenue sources cut off, the company had to rethink its approach. “COVID-19 allowed the three businesses to look at their strategy for growth and work out how they can come out of this dark period,” says MacGregor. “We looked at it with fresh eyes and came up with a strategy to get back to where we were previously.”

Part of that meant returning to Val Morgan’s core strengths. “As a company, we went back to our DNA. We have a very strong culture, and we’re a company that people want to work for,” MacGregor says. “We’ve always been a challenger brand. We’re never the biggest, but we’re not the smallest. We’ve always had to fight.”

One key pivot was in the outdoor advertising space. “Gyms were still closed; workplaces were still closed. People weren’t going through petrol stations either because they weren’t traveling. But retail really kind of kept us going and allowed us to transform our outdoor business,” MacGregor notes.

The road to recovery: Finding new strength in retail advertising

As brands and advertisers looked for ways to reach consumers outside their homes, retail advertising emerged as a vital touchpoint. “There were a lot of clients wanting to reach the essential services audience because that was the only point where they could influence purchasing decisions,” MacGregor says. “So suddenly, retail became a really important part of our strategy. We managed to pivot outdoor really well at that point.”

Cinema’s comeback and the rise of a stronger Val Morgan

While retail and digital played a crucial role in the company’s survival, cinema’s revival marked a true turning point. “I think probably mid-2021 when Tenet came out, from a cinema perspective, that was a real kind of turning point. The second one was James Bond – No Time to Die,” MacGregor recalls. “From there, we got a little bit of momentum and built on it. Since late 2021, we’ve been in double-digit growth across all three businesses.”

Today, according to MacGregor, Val Morgan is stronger than ever. “We’ve never had as big an audience as we have now. We’ve never had as many employees as we have now, and our revenue has never been as big as it is now across all three verticals,” MacGregor says. “It’s very much a Phoenix rising from the ashes story.”

A new era for Val Morgan

COVID-19 forced a reckoning for the company, but in the end, it became an opportunity to reset. “It allowed us to have a fierce break. It was a business break by necessity, and so we had to stop doing what we had done previously. We had to regroup, restrategise, and look forward,” says MacGregor.

Now, the company operates at a new level. “We’ve hit a critical mass as a business. All three businesses are really strong, and we’ve reached a size – both in terms of audience and impact on the media market – where businesses can work with us as a group. We’re also seeing clients spend more money with us than they ever have. They want to see what we can do as a group.”

Pictured: Paul MacGregor

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AI is already shaking up elections around the world, and Germany’s recent vote should serve as a wake-up call for Australia. AI-generated misinformation played a big role in the campaign, with deepfakes and automated disinformation targeting conservative frontrunner Friedrich Merz. Meanwhile, AI-powered chatbots helped voters figure out which party aligned with their views. With Australia heading to the polls later this year, the real question isn’t whether AI will influence our elections, it’s how much, and whether we’re ready to handle it.

Toby Walsh, chief scientist at UNSW AI Institute, says AI-generated misinformation is only going to get worse. “We saw much more of it in Germany than in earlier US elections. The generative AI tools are getting easier to use, more powerful, and more accessible,” he warns.

The risks of AI in Australian politics

AI is a double-edged sword for political campaigns. On the one hand, it can help parties personalise their outreach, making voter engagement more effective. On the other, it can be weaponised to spread disinformation, create deepfakes, and manipulate public opinion through hyper-targeted messaging.

According to Walsh, three major risks stand out:

• Micro-targeting: AI can feed different voters highly persuasive, but possibly contradictory, messages, making it harder to pin down a party’s real position.

• Deepfakes: AI-generated videos and images could make even truthful content seem unreliable, eroding trust in political messaging.

• Algorithmic amplification: Social media platforms prioritise engagement, which often means promoting extreme and polarising content.

Are we equipped to spot AI misinformation?

AI detection tools exist, but they’re always playing catch-up with how quickly generative AI evolves. “Technical solutions like digital watermarking will help in the long run, but they’re just Band-Aids on a deeper problem,” says Walsh. “We’re entering an era where seeing is no longer believing.”

The Australian Communications and Media Authority (ACMA) knows misinformation is a growing concern but doesn’t have direct regulatory power over digital platforms. Instead, Australia relies on a voluntary Code of Practice on Disinformation and Misinformation. Given that 75% of Australians are reportedly worried about misinformation, it’s fair to question whether self-regulation is enough.

Lessons from Germany and the U.S.

Germany’s election showed just how AI-driven disinformation can shape voter perceptions, often with the involvement of foreign actors. In the US, AI-generated robocalls impersonating political figures and deepfake videos of candidates have already surfaced, setting a worrying precedent for 2024.

Walsh believes Australia must take three key lessons from these experiences:

• Regulating platforms: Social media companies can’t be left to regulate themselves, they’ll always prioritise engagement over truth.

• Truth in political advertising: We have rules about false advertising for washing powder, so why not for political campaigns?

• Stronger journalism: Independent media is one of the best tools we have to counter misinformation and hold campaigns to account.

Will political parties Use AI responsibly?

If history is anything to go by, political parties will use AI to gain an edge, not necessarily responsibly. Walsh points to how Obama, and later Trump, leveraged social media to their advantage. “Without strict regulation, we’re heading for an arms race of AI-powered manipulation,” he says.

So how can Australia strike the right balance? Walsh suggests looking to the EU’s AI Act as a starting point and implementing clear safeguards like:

• Mandatory disclosure when political ads are AI-generated.

•Truth-in-advertising rules that apply to election campaigns.

• Strict limits on micro-targeting, “You should only be able to target ads to people based on whether they live in your constituency and are of voting age,” Walsh suggests.

Tech platforms: Problem or solution?

Platforms like Facebook, X (formerly Twitter), and TikTok are failing spectacularly at stopping AI-driven election misinformation. “Their algorithms actively promote divisive content because it drives engagement,” says Walsh. “Voluntary measures aren’t working. These platforms must be held legally responsible for the AI-generated content they amplify.”

The ACMA and Australian Electoral Commission are monitoring digital misinformation ahead of the 2025 Federal Election. The AEC’s Stop and Consider campaign aims to boost voter awareness, but there’s little in the way of real enforcement.

The fight for democracy in the age of AI

Germany’s election shows exactly what’s coming: AI-generated attack ads, deepfake smear campaigns, and hyper-personalised voter manipulation. Without strong regulation, Australia risks heading down the same path as other democracies grappling with misinformation at scale.

As deepfake technology advances and AI-driven political tools grow more sophisticated, the risks to democracy are escalating. Whether the answer lies in stronger regulations, improved detection, or a more informed electorate is yet to be determined.

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Public Relations is having a bit of a trust crisis.

Too often, PR agencies overpromise results, pitching clients with big claims about guaranteed media coverage and top-tier placements. But here’s the thing: PR is earned media, not paid media, and that means no one can promise a front-page story in any outlet!

Unlike advertising, where you can pay for guaranteed exposure, PR relies on journalists, editors, and influencers choosing to cover a story because it’s genuinely newsworthy.

Yet, many agencies utilise business development managers (BDMs) to sell PR services as if they can control the media, making promises and not relaying the promises made to new clients to the account director or account managers actually working on their account, which is leading to frustrated clients, unrealistic expectations, and a growing credibility issue in the industry.

If PR agencies want to maintain trust and deliver real value, it’s time to get honest about what’s possible, set clearer expectations, and stop treating media coverage like a transactional service, when it’s not.

One burnt client, one bad agency, one bad egg, it ruins it for the rest of the industry.

PR isn’t an ad buy, so stop selling it like one

One of the biggest misconceptions about PR is that hiring an agency is like placing an ad… Pay the fee, get the coverage. That’s not how it works. A journalist’s job isn’t to promote brands. It’s to report on stories that are relevant, timely, and compelling to their audiences.

Good PR pros know how to craft and pitch those stories, but ultimately, the decision to publish is out of their hands. A journalist might love a pitch one day and scrap it the next. A breaking news event might push a planned feature off the agenda. Even the best PR strategies are at the mercy of the media cycle.

But instead of making this clear to clients, some agencies lean into the false promise of guaranteed results. And when those guarantees fall through? The client blames the agency, the agency blames the media, and the industry takes another hit to its credibility.

When agencies overpromise and underdeliver, it doesn’t just damage their own reputations it lowers trust in PR. Clients who feel misled are less likely to invest in PR again.

So, how can PR agencies can be more transparent?

So, how can agencies fix this? It starts with radical honesty.

Setting the right expectations from day one and ensuring clients understand how PR works. Here’s what that should look like:

1. Be clear about what PR can and can’t do

Instead of promising guaranteed media hits, agencies should educate clients on how earned media works…

Journalists decide what gets published, not PR agencies. Not every pitch will land, no matter how good it is. Also, PR success isn’t just about quantity, it’s about quality and long-term reputation building and brand building.

A good agency doesn’t promise the world. It builds realistic strategies that align with media trends and audience interests.

2. Stop selling PR like a paid ad

PR and advertising are not the same thing. Agencies need to make a clear distinction between earned media (which is free… but not guaranteed) and paid media (which is guaranteed but lacks the same credibility).

If a client wants instant media exposure and full control over messaging, they need to invest in advertising, not PR. Agencies that fail to make this distinction upfront are setting themselves, and their clients up for a massive failure.

3. If it’s pay-to-play or advertorial, say so

There’s nothing wrong with paid media opportunities, when they’re labelled as such. If a client is paying for an interview or feature, they deserve to know that it’s not the same as organic press coverage.

Ethical agencies should never pass off advertorials as genuine media hits. Full transparency builds trust and helps clients make informed decisions about their PR investments.

4. Measure success beyond just media hits

PR’s impact goes beyond article placements. Agencies should help clients see the bigger picture, including things like, Thought leadership, positioning executives as industry experts.

As well as things like:

• SEO benefits: Quality backlinks from reputable media sites.

• Brand perception: How PR efforts shape audience sentiment.

• Long-term credibility: Building a media presence that lasts.

PR needs a transparency makeover

The PR industry has a choice: keep selling empty promises and dealing with frustrated clients, or start having honest conversations about what PR is, how it works, and what’s realistically achievable.

Clients don’t need guarantees. They need trusted advisors who can guide them through the unpredictable world of earned media. That starts with transparency, ethical practices, and a commitment to delivering real, measurable value.

It’s time for PR agencies to stop overpromising and start being upfront about what they can deliver. Because in the end, honesty isn’t just good ethics, it’s good business!

For too long, the allure of guaranteed coverage has overshadowed the more nuanced and valuable aspects of public relations. Which is building trust, enhancing reputation, and fostering meaningful connections between brands and their audiences.

In doing so, PR professionals will not only protect their own reputations but will also contribute to a healthier, more sustainable media environment. One in which earned media is celebrated for its integrity and authenticity.

The stakes are high, but the rewards, both in terms of client satisfaction and long-term industry credibility, are well worth the effort.

At the end of the day, overpromising does more harm than good, not just for one agency, but for the whole industry. Every time a PR team fails to deliver on big claims, it fuels the stereotype that PR is all talk and no substance. And when media outlets start doubting the credibility of the pitches they get, it doesn’t just hurt the bad players, it makes journalists more sceptical of PR in general. That means great stories might get overlooked, and the real value of PR, building trust and credibility, gets lost in the noise.

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Australian Eggs has revealed the latest instalment of the ‘Bring the Bright’ platform, showcasing how eggs elevate any meal, developed with Connecting Plots.

The campaign opens to a daring egg gets behind the wheel taking on the obstacle course of a typical family home in order to make dinner shine, with a little help from a mystery driver.

The latest instalment in the campaign is an extension of the ‘Bring the Bright’ platform, launched in September 2023. The ad is aimed at elevating the use of eggs within a broader range of meal occasions.

The brand platform encourages Aussie households to brighten not only their meals, but their family’s demeanour thanks to the flavour and rich nutrients packed inside eggs.

The latest instalment echoes the playful and relatable tone of the previous campaigns, while evolving to hero the intergenerational relationships within the family from grandparents to parents and grandchildren.

“Our first two campaigns showcased the playful family moments that exist around mealtimes, from the perfect flip to dinner’s cheeky interruptions,” Australian Eggs marketing manager, Becky Vila said.

“But eggs are for everyone, young and old, so for the next campaign, we wanted to showcase the wider range of relationships that exist within the extended family dynamic.”

Connecting Plots creative partner, John Gault said: “Becky, Nat and Rowan from Australian Eggs helped us drive the ‘Bring the Bright’ platform to even greater heights with this one. Dare I say, they’re good eggs.”

The campaign has come to life in partnership with production company, Infinity Squared and rostered director Richard Vilensky and will roll out across online video, BVOD, social media and OOH over the coming months.

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Foxtel has announced a premier sponsorship lineup featuring both new and returning powerhouse brands for the much-anticipated 2025 NRL season, set to kick off in Las Vegas on Sunday, 2 March.

The company says the move highlights its commitment to partnering with top-tier advertisers for one of Australia’s most celebrated sporting events.

The announcement comes on the back of impressive pre-season results.

The NRL All Stars match registered a record-breaking total audience of 295,000 across the Foxtel Group – an 11% year-on-year increase and an 18% surge in streaming figures on Foxtel Go, Foxtel Now, and Kayo Sports.

Something old, something new

A slew of new sponsors will be joining the 2025 season, including Westpac, BP, Vodafone, Tradie, Complete Home Filtration, Lion and Aussie Broadband.

Meanwhile, Sportsbet, Ford, McDonald’s, KFC, Chemist Warehouse, AAMI, VB, Harvey Norman, Toyota, Red Rooster, CBUS, Rexona, Musashi and Jim Beam will return for another slice of sporting action.

Director of sports sales and brand partnerships at Foxtel Media, Martin Medcraf, said: “The 2025 season is already off to a spectacular start. Foxtel continues to offer fans the premium footy experience with our commitment to no ad breaks in live play, reduced ad clutter and top-quality programming.

“2025’s season is also the best opportunity yet for our brand partners thanks to our partnership with Commbank iQ. We have over 100 new Character target segments that can be utilised, such as Travel Intenders, Luxury Goods buyers and Foodies. So not only can brands now target new high-value segments on platform, but we can measure the real sales impact of that activity, offering a closed-loop solution from activation to sales. This is provable ROI.”

Exclusive deals

Red Rooster will serve as the Thursday Night League naming rights partner, while McDonald’s has clinched the Sunday Ticket slot for Sunday Nights with Matty Johns. Meanwhile, Ford has joined as the Friday Night Footy on Fox sponsor and debuts as the naming rights partner for Monday’s NRL360, with Chemist Warehouse taking over sponsorship for Sunday Nights with Matty Johns.

Each partner plays a strategic role in delivering targeted exposure and receive prominent branding across Fox League studios, with logos, graphic swipes and live verbal callouts throughout the action-packed sporting coverage.

Building on 2024

This year’s opening round will feature four new clubs, alongside Super League and Women’s International fixtures at Allegiant Stadium – offering brands a vibrant platform to connect with a diverse, engaged sports audience.

The expanded schedule includes three special Las Vegas editions of NRL360 and The Matty Johns Show. These premium broadcasts will further elevate the event’s profile and provide enhanced opportunities for advertisers to engage with viewers during peak game-day moments.

While, joining the Fox League team for live game-day coverage and analysis are sporting legends Shaun Johnson and Kevin Walters.

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Southern Cross Media Group Limited (SCA) has announced Toby Potter as its new chief financial officer and a member of the senior leadership team.

The appointment was disclosed to the market ahead of SCA’s half-year results presentation on Thursday morning.

Potter, who stepped in as acting CFO in December 2024, has been responsible for overseeing the company’s financial stewardship over recent months.

His prior experience at SCA spans over a decade in positions such as head of commercial finance and head of business transformation, where he successfully led several business optimisation initiatives.

SCA CEO John Kelly said: “I am delighted to confirm Toby’s appointment as CFO. His deep sector experience, commercial acumen and strong relationships provide a compelling skill set that will play a key role in assisting me and our broader business.”

The company says Potter’s further supplements Sarah Tinsley’s appointment as chief legal officer and company secretary. Both executives will join SCA’s executive team, reporting to John Kelly.

The appointment comes off the back of the company’s decision to roll-out further cost-cutting measures, including redundancies, as the media company continues to navigate challenging economic conditions.

In an internal email sent to all employees last week, Kelly acknowledged the structural challenges facing the Australian media industry and the need for SCA to operate more efficiently to remain competitive. He noted that despite recent improvements in performance and reductions in operating costs, further cuts were necessary to sustain momentum and position the business for long-term growth.

“To maintain this momentum and further position the business for sustainable growth, it is essential that we now reduce our cost base wherever possible,” Kelly wrote to staff. “Accordingly, we are required to make further cost reductions across areas such as discretionary spend, programming, corporate overheads, and regrettably, our workforce.”

The CEO confirmed that affected staff had already been contacted and expressed his regret over the impact of the decision. “That said, this is the most difficult part of my job and of our leaders, and my thoughts are with those impacted today,” he said.

Pictured: Toby Potter

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As the 2025 Telstra NRL Premiership season kicks off in Las Vegas this weekend, Nine has secured a solid number of brand partnerships across its integrated rugby league content ecosystem – spanning Total TV, Total Audio, and Total Publishing.

Broadcasting over 145 live games on the 9Network, including marquee events like the exclusive men’s and women’s State of Origin, the blockbuster men’s Finals series, and an expanded NRLW schedule from 48 to 74 games, Nine is offering advertisers access to a vast, diverse audience at scale.

Beyond live coverage, Nine’s NRL platform is promising to deliver round-the-clock content and, what it claims will be ‘engaging conversations’. New offerings include the linear magazine show “Freddy & The Eighth,” which will sit alongside the iconic Wide World of Sports, podcasts, 9Now specials, and Nine Radio’s WWOS Continuous Call Team.

Solid footing

Last year, Nine’s full NRL coverage delivered a Total TV audience of 16.7 million, with the Men’s State of Origin Series drawing 9.4 million viewers – a 17% year-on-year increase. The Women’s State of Origin Series also saw impressive growth, reaching 4.3 million viewers, up 72% YoY as the series expanded from two to three games.

This year, new sponsorship additions Ford and Red Bull will join established partners such as Harvey Norman, Telstra, McDonald’s, Westpac, Sportsbet, Youi Insurance, Kia, and returning sponsors Chemist Warehouse, Isuzu UTE, and Rexona – further cementing Nine’s position as a leading destination for premium sports advertising.

‘Sport mega platform’

Nine’s director of sales – sport, Olympic and Paralympic games, Matt Granger, said: “Over the last five years, WWOS has continued to evolve its unrivalled sport mega marketing platform, with a clear focus on delivering the best-in-class sporting assets and solutions for brands.

“This year’s new, growing and returning partners across our rugby league assets are again testament to that. The role sport content plays in Australians’ lives continues to evolve and grow. At Nine, we are leading the connection of fans and brands in a way no other media company can,” said Granger.

Meanwhile, director of content partnerships – sport, Olympic and Paralympic games, Anne Gruber, said: “We have evolved our NRL proposition, driving focus on the success and effectiveness of our cross-platform ecosystem partnerships. In 2025, there will be more league content and more opportunities to contextually connect with audiences from February through to November’s Pacific Championships.

“Brands can leverage the ‘always on’ conversation seven days a week, 24/7 through Broadcast TV and 9Now magazine shows, match day broadcasts, Nine Radio’s Continuous Call team, live blogs, WWOS.com articles and NRL on Nine social content. In essence, it’s a 10 month marketing campaign across every touchpoint of Nine’s suite of assets,” she said.

When to watch

The 9Network’s NRL season kicks off this Sunday 2 March with two games from Las Vegas, with an international between the Australian Jillaroos v England Women, and the NRL Premiership clash between Cronulla Sharks v Penrith Panthers.

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Despite the hype, tangible returns often fail to match the headlines. Research indicates 11% of companies report significant EBIT gains from AI, and just 26% move beyond proofs of concept, prompting the question: is AI all sizzle and no sausage?

Today’s models, when effectively integrated and applied, can unlock remarkable value that is still vastly underexploited. Microsoft defines the next phase of AI, Artificial General Intelligence, in terms of financial achievement as generating $100 billion in profits, yet many marketers are still struggling to extract meaningful gains from the AI tools already at their disposal. It’s like owning a Ferrari but never taking it out of first gear. How do we shift from promise to measurable profit?

A major hurdle is scaling from proof-of-concept to enterprise-wide deployment. Only 22% progress beyond prototyping, with just 4% delivering substantial value. Data management nightmares arise when information is locked away in disparate systems, requiring cleaning and enrichment before it’s AI-ready. Unclear ROI is another barrier, as nearly half of IT leaders struggle to prove AI’s worth due to fuzzy use cases and undefined KPIs.

The skills gap also plays a role, with data scientists, ML engineers, and broader AI literacy across non-technical teams needing alignment. Adoption stalls when employees feel threatened or fail to see how AI aids their daily roles. Furthermore, resource intensity and “last mile” rollout pose significant challenges. Moving beyond superficial pilots requires significant investments in time, money, and talent, while rolling out AI across multiple functions demands a well-coordinated plan to ensure teams truly understand and measure the benefits.

These obstacles underline why merely offering AI “snacks” or one-off use cases does not translate into an experience that can drive enterprise-wide growth. For AI to become a sustainable engine of value, organisations need to move away from “snacks,” teach their workforce to “cook,” and invest in continuous learning.

A Blueprint for Extracting Growth

It’s not easy, but it can be done, and it has been done. The following five pillars form a comprehensive recipe for turning AI’s potential into widespread adoption and profit:

1. Strategy
A robust, long-term commitment to AI must begin at the top. Senior leadership should embrace the transformative capacity of generative AI; develop an enterprise-wide roadmap that prioritises initiatives based on value, feasibility, and risk; appoint credible, empowered AI leaders to champion initiatives and ensure the company’s strategic goals align with AI objectives.

I’ve worked with visionary leaders whose foresight in applied AI helped champion a future-proof workforce. Strategic commitment is the cornerstone of success.

2. Operating Model for Adoption and Scaling
Companies need a balanced AI portfolio that spans quick wins and deeper transformation by establishing a centralised team that synchronises AI efforts across functions; using agile methodologies for rapid, iterative delivery; and setting up funding frameworks that support nimble, high-impact projects.

Equally important is cultivating an environment where non-technical personnel appreciate both the potential and risks of generative AI. Relevant KPIs and performance metrics must track and nurture the value created.

3. Technology and Data
A robust data and IT infrastructure is the backbone of any successful AI initiative. Organisations must integrate data from varied sources and maintain strict governance; embed rigorous testing and validation in release processes with protocols for human oversight as needed; and develop modular, reusable components that encourage continuous improvement and faster problem resolution.

A well-defined data strategy is indispensable—think of it as your “kitchen pantry” of ingredients that support the organisation’s AI roadmap.

4. Talent
Transformation is as much about people as technology, and organisations need to focus on behaviour change.

This includes implementing governance frameworks that support end-to-end transformation spanning workforce development, process redesign, and change management; offering tailored learning journeys to build critical generative AI skills from fundamentals to advanced analytics; and defining clear roles and responsibilities for AI execution, ensuring teams are recruited, onboarded, and integrated effectively.

If you want everyone to cook, you need to provide the right recipe books (training) and the right utensils (infrastructure).

5. Risk Management
Responsible deployment is key to harnessing AI’s transformative power without unintended consequences.

Companies must establish guidelines ensuring ethical, legal, and risk-managed AI implementation; instil risk awareness in technical teams to mitigate data bias and other hazards; build auditable models that allow for bias checks, accountability, and transparent assessments, and form an enterprise-wide council or board dedicated to responsible AI governance.

Embarking on AI doesn’t require an overnight overhaul. By starting small, whether acquiring AI-enabled tools or upskilling existing teams, organisations can begin incrementally:

• Build: Invest in tools, infrastructure, and policies that foster secure, accessible AI environments.
• Train: Provide foundational AI instruction, from basic prompting to specialised generative techniques.
• Refine: Audit roles and processes for bespoke use cases, then craft departmental best practices.
• Engage: Continuously inform teams through workshops, videos, or podcasts.

Although challenges remain, the gap between AI’s potential and realised value is an opportunity, not a chasm.

Those who move beyond talk, empower their teams, and blend human ingenuity with machine intelligence will shape a transformative era.

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Enigma has promoted Justin Ladmore and Amy Dascanio.

Ladmore will step up into the newly created role of chief media officer and partner from managing director, to lead growth, strategy, and the independent full-service agency’s connected creativity product, strengthening its integrated approach.

Dascanio moves into the role of general manager, charged with leading the 40-strong media team while working alongside managing directors Jack Mason and Joanna Lilley’s teams across Newcastle and Sydney offices.

She will also contribute to Enigma’s leadership group and the agency’s vision and passion for delivering full-service solutions to its clients. Dascanio has been with Enigma Media for a decade, and before that was a group director at MediaCom and began her career at Zenith Media.

Ladmore joined Enigma more than 12 years ago and has since built the agency’s Media offering. He has also worked with MediaCom as Communications Planning Director and was Head of Digital at GroupM and was also with Universal McCann.

“I’m delighted with both these well-deserved promotions,” Enigma founder, Lisa Sutton Gardner, said. “Being able to promote from within is testament to the talent we have at Enigma and our established and growing Media offering.

“Amy has played a pivotal role in shaping Enigma Media’s success. I remember the day 10 years ago when I was tasked with ensuring she transitioned up the M1 from her role at MediaCom in Sydney to her new life in Newcastle. I am thrilled 10 years later to see Amy be recognised for her contribution in her next career milestone here at Enigma. Her leadership and deep understanding of the evolving media landscape make her the perfect person to drive the media business forward.”

Ladmore said of the promotions: “I am so proud and excited for Amy. She has been the driving force behind the growth of Enigma Media, our media product, and all the amazing media staff we have here. We have worked together for a very long time and she is the smartest media operator I know.”

Dascanio added: “I am incredibly proud of what we have built over the past 10 years— fostering an environment where our people can grow, develop their careers and deliver campaigns for our clients that drive real business solutions.

“As we enter this next phase of Enigma’s growth journey, I am honoured to lead such a talented and passionate media team, along with the senior support of [executive director, media] Sally Lawerence and [group director, Media] Jesse McColl. Partnering with Justin in his new role, presents an incredible opportunity to elevate the business and further strengthen our media and creative offerings. I think he is secretly loving the staff now calling him ‘Chief’.”

Top image: Justin Ladmore and Amy Dascanio

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Taboola has announced a major expansion beyond native advertising with the launch of Realize – a new technology platform designed to drive performance outcomes at scale beyond search and social.

Realize is an evolution of Taboola Ads, a platform used by 20,000+ advertisers.

Using advanced AI technology and first-party data, Taboola can optimise ad placements with Realize to drive measurable results for advertisers beyond traditional search and social channels.

Advertisers currently spend an estimated US$25 billion annually on DSPs and niche adtech solutions, many of which lack the performance expertise, scale, or data to deliver optimal results.

Additionally, 75 per cent of performance advertisers using social media report diminishing returns due to audience saturation, rising costs, and ad fatigue. Realize is positioned as the only independent performance platform that moves beyond search and social, offering scalable, outcome-driven solutions that run across leading publishers, OEMs, and apps.

Realize is billed as the only independent performance platform that goes beyond search and social media and delivers outcomes at scale for advertisers, leveraging Taboola’s unique supply, first party data and AI technology.

It delivers simplicity and efficiency for advertisers to run performance-based campaigns on many of the world’s largest and most trusted publishers across all ad inventory, OEMs and apps.

Adam Singolda, CEO of Taboola, sees Realize as a game-changer, stating that performance advertising beyond search and social has long been overly complicated, leaving advertisers reliant on existing channels due to a lack of alternatives.

“Every business deserves a chance to grow and succeed,” he said. “Performance advertising beyond search and social media has been far too difficult for too long, however. Advertisers have settled on search and social media simply because there has been no viable alternative.

“Spending money with DSPs and CTV is great for branding but not optimized to drive performance, and running display with hundreds of advertising tech companies at low scale is simply not worth marketers’ time.”

He said that the move into Realize was huge for the company.

“Amazon started in 1994 and did a great job winning the book business by 2000, which allowed them to go into owning all of e-commerce. This is our ‘Amazon moment’. After many years of success with native ads, it’s time to go after all of performance advertising. We can do a lot more for advertisers, and a lot more for publishers. Today is an exciting day for me and us at Taboola.”

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PR consultancy Zonnios&Hunt has launched into market, offering a nimble and efficient solution to clients’ communications challenges with senior expertise driving the entire journey – from strategy through to execution.

Lauren Hunt and Nick Zonnios lead the company, having senior positions at Virgin Australia, Clemenger BBDO and CHEP Network, across a range of sectors, including finance, automotive, retail, travel, FMCG and more.

Hunt said of the launch: “We created Zonnios&Hunt to be the kind of consultancy we’d want to work with – one that cares about our clients’ business as much as our own.

“Following years of experience partnering with some of Australia’s most loved brands, we’re now uniquely positioned to deliver high-quality, memorable work that is as efficient as it is effective.”

Zonnios added: “If you hang around agencies long enough, you realise that what clients want and what they get are often two different things. The real value lies in providing clients with direct access to strategic counsel, creative thinking and sharp execution. That’s exactly what we’re built to deliver.

“We’re not here to win your business, we’re here to work on it. Clients get senior smarts across the whole journey, and the businesses we work with get to tell better stories.”

Last year, Zonnios joined Icon Agency as director of consumer to lead the agency‘s consumer practise, following his tenure as head of PR at CHEP Network.

He said at the time: “After seven years, I wanted to see if I could take everything that I’d learnt and apply it in a different environment, and to learn something new myself.”

Before teaming up with Zonnios, Hunt was consumer public relations manager at Virgin Australia for over two years.

Top image: Nick Zonnios and Lauren Hunt

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The 97th Academy Awards® will be broadcast live and free exclusively on Seven and 7plus, offering Australia a full front-row seat to all the action.

The network says its comprehensive coverage positions it as the destination for an audience eager for high-profile, award-winning entertainment.

Emmy® Award-winning television host, writer, producer and comedian Conan O’Brien will host, with presenters announced to date including Halle Berry, Penélope Cruz, Robert Downey Jr., Elle Fanning, Whoopi Goldberg, Scarlett Johansson, John Lithgow, Cillian Murphy, Amy Poehler, Da’Vine Joy Randolph, June Squibb, Emma Stone and Bowen Yang.

Aussies are again making waves this year: Guy Pearce is up for Best Supporting Actor (The Brutalist); Greig Fraser for Best Cinematography (Dune: Part Two); the Aussie talent behind the visual effects in Better Man and Kingdom of the Planet of the Apes are nominated.; Memoir of a Snail is in the running for Best Animated Feature; and Australian producer Maya Gnyp’s project I Am Ready, Warden is nominated for Best Documentary Short.

From 5.30am, Sunrise and The Morning Show kick off the day with extensive coverage, including live red carpet updates from the Dolby Theatre® courtesy of Mylee Hogan. The Oscars Red Carpet Show follows live at 10.30am AEDT on Seven and is streamed nationally on 7plus.

Sunrise co-host Nat Barr said: “Aussies are making their mark, egos are clashing, and the stakes are high – this is the red carpet event of the year, and we’re bringing it to you live.”

While, 7NEWS US correspondent Mylee Hogan added : “I’m looking forward to letting all of Australia in on the red carpet, rubbing shoulders with our Aussie hopefuls and cheering them on from the sidelines, as they show Hollywood who’s best.”

The main Oscars ceremony airs live from 11.00am AEDT on Seven and 7plus, with an encore screening at 10.00pm. For trade and advertising professionals, this multi-platform event presents a valuable opportunity to reach a broad, engaged audience during one of the year’s most anticipated global events.

Over on 7Bravo, E! Live From the Red Carpet 2025begins at 8.00am AEDT, followed by the Red Carpet Rundown at 10.30am AEDT.

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