Duncan Campbell will leave The Australian Radio Network (ARN) following a period of transition within the company, Mediaweek understands.

Campbell’s title will remain as chief content officer until a changeover occurs, with Lauren Joyce, the current chief strategy and connections officer, set to take the reins.

Staff were informed of the restructure this morning.

Both Campbell and Joyce will retain their “public voices” with both committed to ensuring a smooth transition, with open communication throughout.

Campbell joined ARN as CCO back in 2010, and since then has been instrumental in the orchestration of the biggest radio deal in Australian history by signing Kyle and Jackie O to a ten-year contract.

The deal, which cost $200 million, subsequently saw the company engage in a range of cost-saving measures to free up revenue.

In December last year, Calum Jaspan wrote in The Sydney Morning Herald the deal played a role in the decision to make up to 50 staff, from a range of departments, redundant. Other factors included the company’s failed takeover of rival Southern Cross Austero and a weak ad market.

More to come.

Pictured: Duncan Campbell

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After months of speculation, Publicis Groupe ANZ has officially acquired Atomic 212°, Australia’s largest independent media agency, in a move that will undoubtedly shake up the local industry. Founded in 2008 by Barry O’Brien OAM, Atomic 212° has cemented itself as a leader in the media space, winning global recognition for its innovative, results-driven work. Now, with the backing of one of the world’s largest holding groups, the agency is preparing to combine its indie agility with the scale and resources of a global network.

So, what prompted O’Brien to make the leap? After years of championing independence, why did the time feel right for this change? And what does this mean for Atomic 212°’s clients, staff, and the broader Australian media landscape?

Finding the right fit

For O’Brien, the decision to join Publicis wasn’t made lightly. Known for his dedication to Atomic 212°’s independence, the choice came down to Publicis’ commitment to growth and respect for the agency’s DNA.

“From our first meeting, the Publicis Groupe offering and their continuous encouragement to help our business grow was the compelling factor in making this decision,” O’Brien said. “Their connected platform proposition flows through their leadership, their people, and their clients. That’s truly powerful.”

It all started with a LinkedIn message from Publicis Groupe ANZ CEO Michael Rebelo. “Michael reached out, and we caught up over coffee. I was impressed by what they’ve built and the infrastructure they have in place. It felt like a great meeting of the minds,” O’Brien said.

Why Publicis, and why now?

O’Brien acknowledged that the increasing complexity of marketing played a big role in the decision. “We’ve grown Atomic 212° into a world-class media operation, but marketing today requires holistic services that go beyond what independent agencies can provide alone. By joining Publicis, we can offer an even better experience for our staff and clients,” he said.

One key area of alignment was the shared focus on data and technology. “They were blown away by what we’ve done with data, and we were equally impressed with their capabilities. Together, we see huge opportunities to innovate, particularly in AI and data-driven tools that will enhance what we can deliver for clients.”

The partnership will also benefit from the leadership of Publicis ANZ’s chief media officer, Imogen Hewitt, who works alongside the media agencies to scale solutions across the network. Her role will ensure Atomic 212° continues to innovate and deliver for its clients as part of a broader group.

A commitment to clients

For existing and potential clients, O’Brien had one clear message: nothing is changing when it comes to service. “We built this business based on clients, and that connection remains at the core of everything we do,” he said.

“I don’t care how big you are or how big your budget is. It’s about where we can help you. That hasn’t changed since day one. It’s about creating impact and making our clients’ jobs and days better.”

O’Brien also made it clear that joining a holding group doesn’t mean losing the agency’s agility or attention to detail. “Publicis’ infrastructure only enhances what we can do. We’re still here for the big and small brands, ready to roll up our sleeves and deliver real impact.”

Looking back on the journey, O’Brien called the acquisition a proud milestone for the agency. “To have started as a small indie and grown to a place where one of the world’s largest groups sees the value in what you’ve built—that’s pretty special,” he said.

Although the process was lengthy, O’Brien said it was a positive experience. “We had great people on both sides working together to make this happen. It’s a move that positions us for long-term success.”

The bigger picture

Atomic 212° joins a powerhouse portfolio that includes Spark Foundry, Zenith, Starcom, and MBM. Publicis Groupe’s ANZ media brands are already known for delivering strong results, and the addition of Atomic 212° strengthens their position in the market.

For O’Brien, the move represents more than just growth for Atomic 212°. “We’re joining a group that’s already on a strong trajectory. This isn’t just about getting bigger—it’s about doing better work and pushing boundaries for our clients.”

As Atomic 212° takes its next step under Publicis Groupe, O’Brien remains grateful to the clients who have supported the agency’s journey. “We’ve built incredible relationships with our clients over the years. They’ve helped us get to where we are, and we’ve helped them grow too. That doesn’t change.”

Reflecting on the industry as a whole, O’Brien remains optimistic about what’s to come. “This business is always evolving, and that’s what keeps it exciting. By staying focused on delivering results and embracing innovation, we’re ready for whatever comes next.”

For Australian brands, this partnership offers the best of both worlds: the creativity and agility of an independent agency combined with the scale and resources of a global network. As O’Brien puts it, “Wherever we can help you, that’s what matters—and that’s not going to change.”

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With over 50% of scams originating on social media platforms, the issue of trust and accountability has taken centre stage in Australia’s ongoing debate about scam prevention. Amid growing criticism from Australian banks, social media giant Meta has defended its role and outlined steps it is taking to combat scams.

Australia’s major banks, including Commonwealth Bank (CBA) and Westpac, have called on Meta to take greater responsibility for its role in enabling scams, presenting damning evidence to a parliamentary inquiry into the federal government’s proposed anti-scam laws. The banks allege that despite reporting fraudulent activity on Facebook numerous times, scams continue to thrive on the platform.

Meta claps back

In response, a Meta spokesperson told Mediaweek: “Scams are often driven by sophisticated, well-resourced cybercriminals. Meta doesn’t want scams on its platforms, and we continue to invest in teams and technology to detect and stop them. In the second half of 2024, we announced that we will be testing facial recognition technology to identify and stop celeb-bait scams, the expansion of our partnership with the Australian Financial Crimes Exchange (AFCX) to share intelligence with Australian banks on scams, and verification requirements for advertisers wanting to promote financial products or services to Australians.

The safety of our users is of utmost importance, and it makes no sense to allow scams that create a poor user experience on our platforms. We will continue to invest in new ways to stop scammers and deepen our collaborative efforts with numerous industry partners, the government, and law enforcement on this important issue.”

Meta’s statement follows criticism from Westpac and CBA, which have accused the company of failing to remove fraudulent pages and posts despite repeated reports. One example highlighted by Westpac involved an investment scam page flagged in October that remained live months later. Both banks also presented evidence of Facebook pages offering to “buy or sell bank accounts” for illegal money-muling purposes.

Carolyn McCann, Westpac’s customer and corporate services group executive, expressed frustration with Meta’s perceived lack of action. Speaking to The Sydney Morning Herald, she said, “It’s extraordinary that foreign tech companies are trying to claim they have no role to play. More than 50 per cent of scams start on these platforms. Banks are doing their bit, telcos are doing their bit. Why should social media giants be any different?”

The proposed legislation, known as the Scams Prevention Framework Bill, seeks to introduce fines of up to $50 million for banks, telcos, and social media companies that fail to take sufficient action to prevent scams. However, the tech industry lobby group DIGI has argued that banks should bear full responsibility for reimbursing victims, who collectively lose billions of dollars each year.

Who should take responsibility? Banks, telcos, or social media?

The inquiry, which is hearing submissions from groups including the Australian Banking Association (ABA), DIGI, and consumer advocacy group Choice, is also exploring how to allocate responsibility for scams among banks, telcos, and digital platforms.

ABA CEO Anna Bligh has called for urgent action from social media companies, saying, “Enough is enough. If digital platforms are serious about protecting Australians, they should be doing more to ensure people aren’t being exposed to scams in the first place.” She added that while banks and telcos are heavily investing in fraud prevention, platforms like Facebook are falling short. “Meta’s world-leading technology allows for hyper-targeted advertising, yet it refuses to apply the same rigour to identify and remove scams,” Bligh said.

In 2024, the National Anti-Scam Centre, run by the ACCC, reported almost 250,000 scams, costing Australians $3.2 billion. While email, text messages, and phone calls were the most common methods, social media played a significant role in enabling scams.

With the parliamentary committee expected to hand down its report on the proposed anti-scam laws next week, the debate is intensifying. As the Albanese government pushes for an economy-wide approach to scam prevention, the outcome of this inquiry could fundamentally reshape the responsibilities of digital platforms in Australia.

The cost of scams

In 2024 alone, the National Anti-Scam Centre, run by the ACCC, reported almost 250,000 scams, costing Australians $3.2 billion. Email, text messages, and phone calls were the top contact methods, but social media played a significant role in enabling these schemes.

While tech giants maintain they are not as central to scams as banks or telcos, the banks argue that platforms like Facebook are integral to the ecosystem of fraud. The Albanese government’s reforms aim to create an economy-wide approach to tackling the issue, placing proportional liability on all industries involved.

The parliamentary committee is expected to hand down its report on the proposed anti-scam laws next week. As the debate continues, the pressure is mounting on Meta and other tech companies to step up and play an active role in preventing scams. With billions of dollars and consumer trust at stake, the outcome of the inquiry could reshape the responsibilities of digital platforms in Australia.

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WPP’s global mandate to return to the office four days a week has sparked a wave of debate among companies and workers.

The new policy – announced by CEO Mark Read – will come into effect in April 2025, giving WPP staffers the time to make necessary arrangements and adjust to new routines.

“I believe that we do our best work when we are together in person,” said Read. “It’s easier to learn from each other, it’s a better way to mentor colleagues starting out in the industry, and it helps us win pitches as a truly integrated team.”

Despite backlash from the employees, the holding company has remained firm in its decision even after a Change.org petition resulted in 19,000 signatures.

Mediaweek spoke to industry experts Darren Woolley and Mat Baxter, who shared their thoughts on the controversial WPP office policy, and what it means for the wider industry.

Darren Woolley: ‘Time will tell if WPP will lose an inordinate number of senior people’

Darren Woolley, CEO of TrinityP3, noted that WPP’s return to office mandate has a conflicting set of pros and cons.

He believes WPP CEO Mark Read is correct in his stance that “creating an inclusive and engaging workplace is vital for more junior staff to receive mentoring and incidental learning.”

“The fact that many of the major holding companies, and their agency networks, are over-represented by junior staff members requiring this type of training indicates either the ageism inherent in the advertising industry, or the failure of their business model to sustain a more balanced approach to long-term career development,” he said.

But, interestingly, Woolley also noted that more experienced staff gain the benefit of remote working because they are proficient enough to do their job without being micromanaged.

They also avoid losing valuable time on the commute to and from the office, and are autonomous and flexible in their working day to enhance productivity.

“But this is a numbers game,” he noted.

“Time will tell if WPP will lose an inordinate number of senior people who are unhappy and will leave for greater flexibility.

“In contrast, those who like a more draconian approach to the workplace will be attracted to this approach,” Woolley added.

Mat Baxter: ‘You can’t have your cake and eat it too’

Media industry veteran Mat Baxter told Mediaweek he was also a “convert” to returning to office after trying an entirely remote work model following Covid.

This was a move he called a “failed experiment” during his time as CEO of Huge.

Baxter recalled staff surveys highlighting degradation in the company’s culture and employees feeling disconnected from the organisation and colleagues as pitfalls of remote working.

However, he also noted that employees were resistant to returning to the office.

“You can’t have your cake and eat it too,” he said.

“If you want a sense of connection to the company and your colleagues, and you want to build a culture that is nourishing and rewarding, then you’ve got to be willing to create that community.

“You need to be in the same physical space to collaborate with your colleagues.”

Baxter added: “Humans collaborate better when they’re together, and ideation and innovation, all the things we laud in our industry as hyper-important to success, are best delivered in that environment.

“I learned that the hard way because when I removed that, the company’s performance suffered.

“We moved back to a back-in-office posture pretty quickly after it became evident that it wasn’t going to work in the way that we hoped.”

‘The results will speak for themselves’

Baxter backed the holding company’s decision, saying WPP has the right to lay those conditions down for its success, while every employee has the right to leave the job and find one better suited for their lifestyle.

However, he cautioned that there will be fewer jobs with flexibility as companies realise the limitations and disadvantages to a remote workforce.

“It’s no coincidence that all the biggest, smartest and most successful companies are all asking people back to the office,” he said. 

“They’re doing it because they’ve seen a tangible and detrimental impact of not having people physically collaborating at work.”

WPP is the only holding company enforcing a return to office mandate and Baxter predicted that it would only be a matter of time before others follow suit.

“They’ll say that until they start losing and WPP starts winning as a result of the improved performance, then they will all jump back to a four-day in-office week.

“The results will speak for themselves. If you think you can run a creatively orientated business with a whole bunch of people long-term talking to each other over video, good luck to you.”

Baxter on Mark Read: ‘WPP has a responsibility‘

Baxter called the backlash inflicted on CEO Mark Read “unreasonable”. He said: “Don’t punish Mark Read for choosing to get into a service industry with clients that you provide a service for.

“If those clients demand that you’re physically available and present in person, you’ve either got to be willing to do it, or it’s not the right job for you.”

“It’s like everyone wants all the good stuff in the industry, but nobody is willing to acknowledge that it comes with the realities of being a client service-driven business or industry. That’s what we are,” he said.

Baxter added: “Sometimes, the right decisions are not popular, and at the end of the day, WPP has a responsibility to not just its people, but also shareholders and clients to produce the very best work possible.

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The Australian Communications and Media Authority (ACMA) has come under fire following revelations about its dealings with major telecommunications companies Optus and Telstra. Documents obtained under Freedom of Information laws by the ABC revealed that the regulator shared draft media releases with the companies for review prior to public announcements of fines and penalties. Consumer advocates and legal experts have raised concerns about the regulator’s approach, questioning its independence and transparency.

In response to criticism, the ACMA has defended its enforcement practices, pointing to its record over the past year. “The ACMA stands by its enforcement record, which involves the judicious use of various penalties and measures,” a spokesperson told Mediaweek. “In the last year, the ACMA has undertaken a number of regulatory actions against telco companies, resulting in financial penalties of more than $19 million. This includes a record $12 million penalty to Optus in relation to its November 2023 network outage.”

A mixed approach to penalties

The ACMA emphasised that financial penalties are only part of its regulatory toolkit. It also utilises tools such as court-enforceable undertakings (CEUs), which obligate companies to address compliance issues and implement long-term improvements. “The ability to use a range of regulatory actions depending on the circumstances of the breach ensures the best outcome for the public, leading to better customer service and more robust consumer protections,” the spokesperson said.

Consumer advocates, however, remain unconvinced. Carol Bennett, CEO of the Australian Communications Consumer Action Network (ACCAN), has called for a parliamentary inquiry into the regulator’s operations. “We need a regulator that acts in the public interest, not in the interests of industry and its profits,” Bennett said, pointing to what she described as “a slap on the wrist” penalty of $1.5 million given to Optus for serious public safety breaches. These breaches affected nearly 200,000 people over two-and-a-half years and involved a failure to provide critical information to emergency databases.

Controversial collaboration with telcos

A key point of contention has been the ACMA’s practice of sharing embargoed media releases with telcos before public announcements. According to the regulator, this practice is “consistent with our legal obligations and ongoing commitment to accuracy and the protection of any private, confidential, or sensitive information.” The ACMA stated that it does not agree to any changes proposed by telcos beyond factual corrections.

This explanation has done little to assuage critics. Anthony Whealy KC, former NSW Supreme Court judge and chair of the Centre for Public Integrity, expressed concern about the perception of “a cosy relationship between regulator and regulated.” He warned that such practices “threaten the necessary openness and transparency that is at the heart of good governance in regulating the industry.”

Calls for reform

The Albanese government has already flagged changes aimed at strengthening the ACMA’s regulatory powers. Last week, Communications Minister Michelle Rowland announced plans to increase maximum penalties under the Telecommunications Act from $250,000 to $10 million. The reforms will also remove a procedural requirement that currently limits the ACMA’s ability to act against companies unless they have first disregarded a formal compliance direction.

For now, the ACMA appears focused on defending its track record and approach. “Our regulatory actions are designed to ensure compliance and deliver outcomes that benefit the public,” the spokesperson reiterated. Still, with public confidence in telcos already shaken by high-profile incidents like the Optus data breach and Telstra’s overcharging scandals, the regulator faces mounting pressure to demonstrate its independence and effectiveness in holding the industry to account.

Public confidence at stake

As calls for a parliamentary inquiry grow louder, the ACMA’s actions will likely face even greater scrutiny in the months ahead. Consumer groups argue that the regulator’s current approach risks eroding public trust. “It’s not just about penalties,” Ms Bennett said. “It’s about ensuring that the regulator puts consumers first and maintains a clear, independent stance against industry misconduct.”

With reforms on the horizon and a spotlight on its practices, the ACMA’s next steps will be critical in restoring public confidence in Australia’s telecommunications regulation.

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The 80th anniversary of the liberation of Auschwitz-Birkenau, one of history’s most harrowing reminders of humanity’s capacity for evil, brought together global leaders, Holocaust survivors, and media from around the world. Held on 27 January, the commemoration marked what is likely to be the final major anniversary attended by significant numbers of survivors, most of whom are now in their late 80s and 90s.

More than 900 media representatives from 78 television networks covered the event at the site of the Nazi death camp in Poland. The ceremony featured emotional testimonies from survivors, drawing attention to the enduring importance of Holocaust education and remembrance in a world where antisemitism continues to rise.

However, the absence of Australia’s public broadcasters, ABC and SBS, from the event sparked widespread criticism from Holocaust survivors, Jewish leaders, and community advocates. Critics argued that the national broadcaster missed an opportunity to demonstrate its commitment to combating antisemitism and preserving the memory of the Holocaust.

Responding to the backlash, an ABC spokesperson defended the organisation’s approach, stating, “The ABC has been extensively covering the Auschwitz anniversary across all our platforms, including airing the commemorative events in Poland and telling the stories of survivors and their families here in Australia. Coverage includes the live broadcast of the special Commemorative Service from Poland, special content on the ABC website and app, ABC NEWS Channel, NewsRadio, Radio National, ABC Listen and Local Radio, and coverage on AM, Radio National Breakfast, News Breakfast, Afternoon Briefing, the 7pm News, and 7.30.”

Despite this, Holocaust survivor Eddy Boas, who spent two years imprisoned at Bergen-Belsen as a child, called the ABC’s decision not to send journalists to the commemoration “a disgrace”. Speaking to SkyNews.com.au, Boas said, “Every major news source around the world has sent representatives to this important commemoration. The fact that the ABC hasn’t is deeply disappointing, especially during a time of heightened antisemitism in Australia.”

Boas, who arrived in Australia in 1954 after surviving the Holocaust, expressed frustration with the broadcaster, saying, “They rarely give voice to people like me or to those who support Israel. It’s about time they invited a pro-Israel person on their programmes to discuss these matters.”

The Auschwitz commemoration was attended by global dignitaries, including King Charles III, Prince William, Kate Middleton and European royals, alongside 56 Holocaust survivors. Pawel Sawicki, communications director for the Auschwitz-Birkenau Museum, called the event the largest in the museum’s history. “This is the last round-numbered anniversary which will have a visible presence of survivors,” Sawicki said. “It’s vital that the world listens to their voices while we still can.”

Despite the ABC’s assurances about its coverage, critics like Boas maintain that the broadcaster missed an important opportunity to demonstrate solidarity and commitment. “Antisemitism is on the rise, and the ABC should be leading the way in educating Australians about the Holocaust,” he said. “Their absence at such a significant event reflects poorly on their priorities.”

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DDB Group Sydney has confirmed it will make 15 redundancies this week.

In a statement, DDB Group Sydney CEO Sheryl Marjoram called it a “complex time for many agencies”.

“We will be making redundancies within our Group this week. Redundancies within creative agencies are an unfortunate cost of doing business, but they are not just a business matter; they are also a human matter.

“People who have done brilliant things for DDB Group, who are both talented and nice, will be affected. They will leave with the support of our EAP program, our connections to assist in finding their next role, and our commitment to be of help in any way possible.”

Marjoram continued: “To minimise the stress of an already stressful time, we won’t be commenting on individual names, however we can share that it will affect 15 of our people. It is up to the people affected to decide when and how they wish to speak.”

“These are moments none of us got into this business for, but when they inevitably come, we believe in handling them in the most respectful way possible, with all the care, comfort and privacy we can offer.”

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Claxon is shifting to a permanent four-day workweek following a highly successful three-month trial conducted in late-2024

During the trial, the agency condensed its standard 38-hour work week into slightly longer days, Monday through Thursday, allowing the entire team Fridays off.

Unlike other versions of a 4-day week, Claxon has not reduced employee hours or salaries, ensuring resourcing availability stays the same across the agency.

“This isn’t just about improving culture; it’s about enhancing productivity and performance,” Daniel Willis, Claxon’s founder and CEO, said.

“Claxon has a culture of a high-performance team, and one that runs at incredible pace with precision, and I wanted to see firsthand how an additional day of rest each week would enable our team to continue to perform long-term at peak levels.

“The results exceeded our expectations, and I’m thrilled to report that not only did we maintain our high standards, the entire team flourished, and clients are also experiencing new and invigorated teams.”

While Friday is no longer a standard workday, Claxon’s team will still be available for clients in case the agency needs to action anything of high importance.

“I’ve read all the studies and spoken with lots of other people both for and against us trailing it, plus pre-trial I personally notified all clients and offered them a direct line to me to share any concerns of issues they had at any time,” Willis said. “Not only were there no client issues but many commented to team members during the trial that everyone seemed to be happier and more dialled in.”

Before mandating the change to a 4-day week, Willis surveyed all staff and asked for their genuine experiences, positive negative or otherwise saying he was blown away by the meaningful positive impact that it had on not only their professional, but their personal lives.

Willis continued: “There seems to be a belief in agency-world that 4-day weeks don’t work – clients won’t be accepting, and that it just doesn’t ‘fit’. Well, I can confidently say that’s incorrect. If a highly collaborative, integrated and high-performance team like Claxon can do it, any agency can make it work.

“I know that there have been a couple of other brave founders who run on a 9-day fortnight, but the reality is team members ultimately end up with much more work to do when they return as the work has continued in their absence. Having a whole of agency 4-day week eliminates this and truly allows team members to switch off.”

The agency noted that while increased productivity was the goal, the initiative is already proving to be a significant drawcard for talent. Since the trial began, Claxon has advertised four new roles, with 50% of cover letters referencing the four-day work week as a key attraction.

In addition to the four-day week, Claxon has also embraced a hybrid work model, allowing staff to work two days in the office and now two days remotely, alongside Flextime options that cater to diverse schedules, but it is the 4-day week innovation that has proved to be a winner for staff and clients alike.

Jade Axford, Claxon’s chief growth officer, said of the changes: “You sometimes hear of these mythical 4-day weeks, in companies far-far-away, but getting to experience what I have over the last few months makes me wonder why more companies aren’t brave enough to try. My productivity is through the roof and as are my happiness levels – it is an amazing feeling not to run out of energy during the week.”

Willis added: “A company is only as good as its people – and if you have happy, refreshed, engaged team members – then half the battle of building a successful company has already been won.”

–

Top image: Daniel Willis

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While Married at First Sight was one of the year’s most hyped premieres, Australia’s passion for cricket took centre stage.

The Big Bash League final on Seven outperformed MAFS in all demographics except 16-39s, where Nine’s relationship drama claimed the win.

The Hurricanes’ triumph over the Thunder drew a total TV audience of 1.08 million and reached 2.95 million nationally, with 76,000 streaming on BVOD.

MAFS wasn’t far behind, pulling a 1.35 million total TV audience, a national reach of 2.52 million, and a stronger BVOD showing with 262,000 viewers.

In the battle of romance versus sport, cricket hit it out of the park… just.

Last night’s figures were record-breaking for Seven, with an impressive 11.9 million viewers, and viewership up 21% from last summer and delivering the network’s biggest BBL audience in five years.

People 25-54

Seven’s Cricket: BBL – The Final

• Total TV nation reach: 1,052,000

• National Audience: 420,000

• BVOD Audience: 42,000

Nine’s Married At First Sight – Launch

• Total TV nation reach: 979,000

• National Audience: 594,000

• BVOD Audience: 163,000

Nine’s Trump’s Triumph: Week 1

• Total TV nation reach: 688,000

• National Audience: 236,000

• BVOD Audience: 48,000

Nine 9News

• Total TV nation reach: 606,000

• National Audience: 325,000

• BVOD Audience: 51,000

Seven Seven News

• Total TV nation reach: 599,000

• National Audience: 347,000

• BVOD Audience: 34,000

People 16-39

Nine’s Married At First Sight – Launch

• Total TV nation reach: 505,000

• National Audience: 289,000

• BVOD Audience: 107,000

Seven’s Cricket: BBL – The Final

• Total TV nation reach: 493,000

• National Audience: 198,000

• BVOD Audience: 26,000

Nine’s Trump’s Triumph: Week 1

• Total TV nation reach: 320,000

• National Audience: 98,000

• BVOD Audience: 27,000

Nine 9News

• Total TV nation reach: 232,000

• National Audience: 105,000

• BVOD Audience: 25,000

Seven Seven News

• Total TV nation reach: 231,000

• National Audience: 132,000

• BVOD Audience: 16,000

Grocery Shoppers 18+

Seven’s Cricket: BBL – The Final

• Total TV nation reach: 2,183,000

• National Audience: 788,000

• BVOD Audience: 58,000

Nine’s Married At First Sight – Launch

• Total TV nation reach: 1,962,000

• National Audience: 1,079,000

• BVOD Audience: 209,000

Seven Seven News

• Total TV nation reach: 1,776,000

• National Audience: 1,131,000

• BVOD Audience: 55,000

Nine 9News

• Total TV nation reach: 1,615,000

• National Audience: 968,000

• BVOD Audience: 80,000

Nine A Current Affair

• Total TV nation reach: 1,357,000

• National Audience: 827,000

• BVOD Audience: 77,000

Pictured: Big Bash and Married at First Sight

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The Growth Distillery has announced its 2025 program, featuring 35 cutting-edge research initiatives, 15 bespoke activations – including tailored workshops and high-profile events – and the return of its popular vodcast series spotlighting over 30 industry thought leaders.

Highlights include:

• Technographics: Exploring how consumer-tech interactions drive personalisation, loyalty, and conversions.

• Fuel for Fandom: Unlocking the power of passions for brand alignment.

• Signals of Intent: Decoding behaviours to distinguish interest from intent for smarter advertising strategies.

Other key projects tackle Gen Z insights, Australia’s evolving sports culture, and shifts in sectors like luxury, education, and technology.

The 2025 program also revives its Impact Workshops, starting February 26 with a health-focused session delivering actionable strategies for marketers, in partnership with The Research Agency.

Leigh Lavery, Head of Growth Intelligence, said: “We cut through the noise to deliver insights that drive real impact, giving brands the clarity they need to grow.”

The Growth Distillery is an independent think-tank powered by News Corp Australia.

Pictured: Leigh Lavery

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MasterFoods has appointed WPP’s integrated agency model, The Kitchen, to its brand portfolio.

The Kitchen brings together a bespoke WPP team, with T&P offering full-service creative alongside EssenceMediacom leading media and Hogarth delivering production for the brand.

The agencies will work together, and the integrated approach aims to deliver deeper insights, more impactful campaigns, and engaging content.

The Kitchen team will work with other key partners like Enthral from an earned perspective to continue to build upon MasterFoods enviable position in the Australian market.

“We can’t wait to bring this proven agency model, ‘The Kitchen’, to Australia for MasterFoods,” Annabel Archer, marketing communications lead at Mars, said.

“The local capability in integrated brand experiences shared by the WPP agency village is exciting. It is critical for MasterFoods to stay relevant in the race for attention and the need to adopt new models and behaviours is essential. We are very much looking forward to seeing what we can achieve together in 2025 and beyond.”

“We couldn’t be more excited to partner with Masterfoods and their pantry full of amazing brands,” said Georgia Malcolm, Mars client lead at T&P.

“As we head into 2025, our entire team is looking forward to hitting the ground running with some standout thinking. We can’t wait to add to the next chapter of this true Australian icon,” Malcolm added.

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Social media moves fast, and 2025 is no exception. With TikTok’s future up in the air in the U.S., Australian brands are already shifting gears, exploring new platforms, and getting creative with their strategies.

But it’s not just about what’s trending, it’s about making the trends work for your brand. So let’s dive into the key platforms, strategies, and stats that will shape the year ahead.

YouTube Is Having a Moment (Again)

With 2.7 billion monthly active users globally and a growing number of Aussies tuning in for everything from DIY tutorials to lifestyle vlogs, YouTube is the platform to watch (literally). As concerns around TikTok’s longevity ripple through the industry, brands are doubling down on YouTube’s potential for long-form content and storytelling.

Why?

• Discoverability: YouTube is the world’s second-largest search engine. A well-optimised video can keep driving views (and sales) months after it’s posted.
• Engagement: People spend an average of 19 minutes per day on the platform, giving brands ample time to make an impact.

Brands can start with a mix of evergreen content (how-tos, tips, and product demos) and episodic series to build a loyal audience. Invest in quality production and SEO-friendly titles to maximise reach.

Snapchat Is Back, And You Should Care

Snapchat’s resurgence is one of 2025’s most unexpected trends, but it makes sense. With over 750 million active users worldwide, including a significant Aussie contingent, Snapchat offers unique opportunities to connect with younger audiences. Its AR filters and real-time communication tools are especially popular.

Why?

• AR and innovation: Snapchat’s AR Lenses drive 6 billion plays daily. This is a perfect playground for brands to create interactive experiences.
• Youth focus: The platform remains a go-to for Gen Z, with 82% of 18–24-year-olds using Snapchat.

So how can brands and creators utilise the platform? Think AR filters that showcase your products, behind-the-scenes “day in the life” content, or geo-targeted campaigns tied to local events. 

Hyper-Personalisation Is King

In 2025, knowing your audience isn’t just nice, it’s non-negotiable. Brands that lean into hyper-personalisation will stand out, creating content that feels more like a conversation than a broadcast.

Why?

• 80% of consumers say they’re more likely to purchase from a brand that offers personalised experiences.

Use data (from analytics tools, surveys, or even social listening) to understand your audience’s preferences. Tailor your campaigns to reflect their values, whether it’s sustainability, affordability, or a love for local.

Nostalgia: The Feel-Good Formula

Millennials and Gen Z are craving a blast from the past, and brands are happy to deliver. From throwback playlists to retro-inspired visuals, nostalgia is driving engagement across all industries.

 Why?

• Nostalgia taps into emotions, making your content more memorable.
• Gen Z is discovering (and romanticising) the pre-smartphone era, while Millennials are eager to relive it.

Think campaigns that celebrate iconic Aussie moments—like backyard cricket, early 2000’s fashion, or 90s Aussie TV classics. 

Impressions Are the New Currency

For years, our focus has been on comments, saves and shares (and it continues to be.) But in 2025, impressions have also taken centre stage as a key performance indicator. Why? Because impressions reflect reach and visibility, the foundation of every customer journey.

Why?

• A study by Meta revealed that ads optimised for impressions drive 1.6x higher brand recall compared to those focused solely on clicks.

You only get 3 seconds to capture the attention of your consumer, so first ‘impressions’ – pardon the pun – are key, and bold visuals, quick cuts, and considered captions are a must. Platforms like TikTok, Reels, YouTube Shorts, and Snapchat Stories are ideal for maximising visibility.

Localisation Meets Globalisation

While hyper-personalisation is about connecting one-on-one, localisation is about celebrating what makes Aussie audiences unique. It’s no secret we love a good underdog story or a nod to our quirks. In 2025, deep dive into your audience data, and create localised content that speaks to their daily experiences.

How?

Lean into cultural touchpoints, from the  coffee scene in Melbourne to the iconic Bunnings snag. Combine these with global trends (like viral moments or audios on TikTok) to make your content both relevant and shareable.

In 2025, social media isn’t just a tool for connection, it’s a stage for creativity, experimentation, and meaningful interaction. By embracing new platforms like Snapchat, investing in YouTube’s storytelling potential, and staying in tune with what your audience loves (hello, nostalgia!), brands can stay ahead of the curve.

So, what’s your next move? Whether it’s a nostalgic TikTok or a hyper-personalised Snapchat campaign, now’s the time to dive in, try something new, and make your mark in 2025.

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The Australian Football League (AFL) has partnered with 72andSunny to launch the 2025 Toyota AFL Premiership Season.

The creative agency has been tasked with developing a new brand campaign to inform the league’s activity in 2025, commencing with the season’s Opening Round.

The goal is to invite new audiences into the game – in particular younger and CALD (Culturally and Linguistically Diverse) audiences, through advertising, social media and media partnerships.

72andSunny’s appointment builds on experience in sport. Globally, the agency has worked with brands such as Adidas, Under Armour, and the NFL.

Locally in ANZ, 72andSunny’s recent projects include Google’s partnership with the AFL, featuring former West Coast Eagles player Nic Naitanui. The TVC, directed by Spencer Susser, focuses on Google Pixel’s ‘Circle To Search’ feature, showcasing how the Pixel’s AI technology can inspire creativity in everyday moments.

The agency also partnered with the tech company for work with EssenceMediacom and Sense Group on the Australian Open with a 360 campaign featuring tennis legend Mark Philippoussis.

Amanda Romeo, AFL general manager fan, welcomed the partnership wth the creative agency. She said: “We were looking for a creative agency who understands modern culture and how to build enduring platforms that connect with new audiences.”

“72andSunny stood out, and their ability for storytelling and audience engagement  will help our game to grow.”

Ross Berthinussen, president ANZ, 72andSunny, said: “We’re inspired to collaborate with this ambitious team and by the possibilities we can unlock together.

“Australian Rules Football is such an iconic part of Australian culture, with such a rich subculture and heritage, helping them drive relevance with Modern Australia more broadly is the kind of challenge we love.”

The work is in development now and will launch for the AFL Opening Round, in March 2025.

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International Data Privacy Day aims to bring awareness to the best practices of consumer privacy and data protection on an international scale under this year’s theme: ‘Taking Control of Your Data’,

The day of recognition marks the first international binding treaty to protect people’s data, which was signed in 1981 by members of the Council of Europe. According to the Australian Cybersecurity magazine, the treaty calls for the right to personal data protection, the protection of human rights, the fundamental freedoms of every individual, and the personal autonomy based on a person’s right to control their personal data and how it is processed.

Data has evolved in leaps and bounds since the treaty, and industry leaders shared their thoughts with Mediaweek on the current state of data privacy and what still needs to be done.

Shai Luft, Co-founder and COO at Bench Media

The spotlight on data privacy continues to grow—and for good reason. With the Consumer Data Right (CDR) expanding and updates to the Privacy Act underway, the government is finally catching up to the reality of how much of our lives we live online. But even with stricter regulations, the responsibility ultimately lies with all of us, consumers and businesses alike, to do better.

For consumers, think of your data like your wallet. You wouldn’t leave it lying around! Review app permissions, avoid oversharing personal information, and use tools like password managers and private browsers to stay in control. These small steps can make a big difference in protecting your privacy.

For businesses, data privacy is no longer just about compliance, it’s about building trust. Be transparent about how you use data, invest in secure systems, and stay ahead of evolving regulations. Consumers are savvier than ever, and they gravitate toward brands that take privacy seriously. Businesses that prioritise data protection can reap the rewards, from increased customer loyalty to higher conversion rates.

Think of data privacy like your health: prevention is better than a cure, and it’s never too late to start.

Richard Knott, SVP APAC, InfoSum

This year’s Data Privacy Day theme – ‘You have the power to take charge of your data’ – has timely resonance for Australian businesses and consumers.

Growing awareness of data privacy has been the driving force behind meaningful regulatory progress worldwide, with further amendments to Australia’s Privacy Act expected this year to address first and third-party data collection. Yet, in a digital world evolving at breakneck speed, there’s a real risk that consumer understanding won’t keep pace with these changes.

It is therefore incumbent upon organisations to move beyond mere compliance and take a leadership role in empowering consumers with greater control over their data. This means ensuring customers have full visibility into how their information is collected, stored, and used. A key starting point is adopting Privacy-by-Design principles.

These principles require technology to embed robust privacy protections and security measures, fostering proactive risk management and treating privacy as a shared benefit rather than a trade-off.

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Amazon Ads has launched Brand+, an AI-driven optimisation capability that simplifies brand awareness campaigns, in the Amazon DSP for all advertisers.

Brand+ combines trillions of shopping, browsing, and streaming signals from across Amazon to model streaming TV and online video audiences predicted to be in-market for a brand’s product or service within the consideration window, reaching potential customers throughout the entire marketing funnel.

The capability allows marketers to deliver video ads across Amazon’s properties, such as Prime Video and Twitch, as well as premium video publishers like Buzzfeed, Fox Corporation, and Dotdash Meredith, to customers likely to convert over time while achieving awareness goals like reach and frequency. During Brand+ beta testing, some advertisers experienced more than a 10% increase in sales and over 70% increase in website traffic.

“For the first time on the Amazon DSP, advertisers can apply AI-optimised automation to purchase TV advertising that reaches unique audiences of customers most likely to buy their products or services — a significant advancement from broad demographic reach to engaging with scaled audiences based on where customers are in the marketing funnel in near real-time,” said Kelly MacLean, vice president of Amazon DSP.

“With this advanced AI technology, the Amazon DSP enables advertisers and agencies to automatically reach, engage, and nurture potential customers throughout their journey, turning brand awareness into a strategic driver of conversions. Brand+ has been designed with the control and transparency that advertisers expect and need. We believe this is the future of advertising, where advanced AI works in harmony with human expertise to drive business outcomes across the entire marketing funnel.”

Amazon Ads highlighted Brand+’s ability to analyse signals along with Amazon Ads shopping and streaming signals to power its machine learning models, identify valuable patterns, and then recognise customers who’ve searched for travel gear, bought travel guides, and streamed travel shows

Brand+ delivers TV ads for the travel services to this audience of potential customers. The machine learning models continuously optimise the campaign by analysing new signals and engagement insights, helping reach high-potential customers early in their journey.

“Brand+ has been a game changer for us, so much so that we are seeing more ROAS and better reach with customers that engage with our brand over time,” said Rajiv Ragu, senior vice president of growth, Thorne.

“Given the success we’ve had, we’re doubling down on our STV strategy in 2025 and are laser focused on Brand+. We’re excited to see the positive momentum and are looking forward to its continued impact for our brand and customers.”

Advertisers can create Brand+ campaigns in as few as four clicks, with flexible optimisation controls and transparent reporting. This unique combination of advanced AI optimisation and familiar advertiser controls ensures that brands can leverage the power of machine learning without sacrificing oversight or strategic input.

Brand+ builds on Amazon Ads recent AI-driven programmatic media buying innovations, including the launch of Performance+, which automatically optimises campaign performance for lower-funnel outcomes, and Ad Relevance, which uses advanced machine learning to match ads with the most relevant placements without needing third-party cookies. It is available for streaming TV and other video formats across Amazon properties and thousands of premium publishers worldwide, exclusively through Amazon DSP.

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The UFC is set to deliver another action-packed night as UFC Fight Night: Adesanya vs. Imavov takes over anb Arena in Riyadh, Saudi Arabia, on Sunday the 2nd of February. The main event promises fireworks as former middleweight champion Israel Adesanya faces rising contender Nassourdine Imavov in a high-stakes clash.

Ranked No. 2 in the UFC middleweight division, Adesanya is looking to reassert his dominance and work his way back to the championship belt. Fighting out of Auckland, New Zealand, Adesanya boasts an impressive record of 14-5, including 16 knockouts and six first-round finishes. The former champ has taken down elite opponents like Alex Pereira, Jared Cannonier, and Robert Whittaker (twice), making him a force to be reckoned with.

Standing in Adesanya’s way is Imavov, ranked No. 5 in the division. The French powerhouse, with a 15-4-1 record, has proven his versatility with six knockouts and four submission wins, including seven first-round finishes. Riding a four-fight win streak, Imavov has already bested big names like Brendan Allen, Jared Cannonier, and Roman Dolidze. A victory over Adesanya would cement his status as a title contender.

Meanwhile, the co-main event will see No. 14 ranked middleweight Shara Magomedov clash with Michael “Venom” Page in a matchup of thrilling strikers. Both fighters are known for their highlight-reel finishes, promising fans an electric showdown.

Adding to the excitement, The Ultimate Fighter finalist Kaan Ofli will make his UFC debut. A teammate of Adesanya at City Kickboxing, Ofli opens the main card against Muhammad Naimov in what promises to be a thrilling introduction to the UFC stage.

UFC Fight Night: Adesanya vs. Imavov will be broadcast exclusively on ESPN and UFC Fight Pass, ensuring fans won’t miss a moment of the action.

Picture: Adesanya vs. Imavov

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The new season of Australian Idol returns to Channel 7 and 7plus, with judges Kyle Sandilands, Amy Shark and Marcia Hines hitting the road to find a new Australian singing superstar.

The smash-hit show is tipped to be the toughest season yet, as the judges look for the ultimate performer who can win the hearts of the public and be named as the new Australian Idol.

Contestants like Jaymon, below, will take to the stage to sing, hoping the judging panel can spot their raw talent.

During the auditions, contestants will be keen to score the coveted Golden Ticket which sends them through to the next round. There’s only 30 available so only the most talented performers will get the go-ahead to move forward.

When the Top 30 have been chosen, they will undergo some gruelling challenges, set by the judges, to make it into the Top 21.

Then, the competition will get down to Australia’s favourite Top 12, before the voting begins and the next Australian Idol will be crowned.

How to watch Australian Idol, 2025

The world-famous show returns to Seven and 7plus on Sunday, 2 February at 7pm.

What do you win on Australian Idol?

The winner will receive $100,000 in prize money, an exclusive recording package with Hive Sound Studios and the coveted title of Australian Idol 2025.

Last year, Dylan Wright won the show after a nail-biting final.

Who are the Australian Idol judges for 2025?

Kyle Sandilands

Sandilands is one of Australia’s best-loved broadcasters, with an unparalleled career across both radio and TV. Since 2000, Kyle has hosted The Kyle & Jackie O Show, winning a record-breaking 52 Australian Commercial Radio Awards. Kyle was a judge on Australian Idol from 2004 to 2009, The X-Factor Australia from 2010 to 2011, and Australia’s Got Talent from 2010 to 2013.

Sandilands runs his own production company, King Kyle, across radio, TV, music, retail and tech and works as a consultant.

Marcia Hines

Marcia Hines’ music career spans an incredible five decades, with 22 albums released and 2.6 million copies sold. She was a judge on the original Australian Idol panel from 2003 to 2009, and inducted into the ARIA Hall of Fame in 2007. She received the Order of Australia Medal in 2009 for her services to the Australian entertainment industry as a performer, judge and mentor.

Amy Shark

Amy Shark burst onto the global music scene in 2016, with her six-time platinum single Adore putting her on the map. This was followed by APRA Song of the Year-winning, seven-time platinum and #1 Australian Airplay Chat hit, I Said Hi, and 2019 three-time platinum single Mess Her Up.

In 2024, Shark released her third #1 ARIA album, Sunday Sadness, and toured across Australia and New Zealand.

Who’s hosting Australian Idol, 2025?

This year’s season of Australian Idol is once hosted by Ricki-Lee – who was discovered on Australian Idol in 2004 – and entertainment presenter and former E! host Scott Tweedie.

Australian Idol is produced for the Seven Network by Eureka Productions.

Australian Idol premieres Sunday, 2 February at 7pm on Channel 7 and 7plus.