Industry insiders say the dramatic moment when Jackie ‘O’ Henderson walked out of The Kyle & Jackie O Show last week may not be a flashpoint at all, but the culmination of tensions that have been quietly building for more than a year.

Multiple sources across the radio and media industry told Mediaweek that Henderson’s decision to step away from the show was “a long time coming,” describing it as the actions of a woman who has “realised her worth” after years inside what many insiders say is an uneven on-air partnership.

The situation carries major stakes for the Australian Radio Network (ARN), which locked Henderson and her longtime co-host Kyle Sandilands into a blockbuster $200 million, 10-year deal for The Kyle & Jackie O Show.

But several industry figures say the show’s dynamics, and the power structure behind it, have long been understood within radio circles.

“It’s an open secret in the industry that it’s the Kyle show,” one insider said.

“What Sandilands wants, Sandilands gets.”

Several insiders added that Henderson’s recent actions suggest a shift in mindset after decades working in one of Australia’s most high-profile radio partnerships.

“These are the actions of a woman who has realised her worth.”

Peter Ford’s claims about the duo’s future

Speculation about the duo’s future intensified on Monday after entertainment journalist Peter Ford made explosive comments about the show on 3AW.

Ford suggested Henderson’s absence could signal deeper trouble for the show’s future.

“Any future for Kyle and Jackie O as a radio duo – I’m told there’s a very, very long and very dark cloud hanging over the future,” Ford said.

“In fact, a couple of people have said to me if it was a horse race, I wouldn’t be backing them for a win.

“It’s a $200 million contract that could very likely be ripped up and binned. I’m told more than likely she won’t be coming back ever.”

Several industry sources told Mediaweek that Ford’s assessment was “bang on,” pointing to a series of incidents across 2025 and early 2026 that suggest tensions between Henderson and Sandilands had been escalating well before last week’s on-air confrontation.

Below is a timeline of the key moments that insiders say reveal how the situation slowly reached breaking point.

Timeline: the incidents that led to Jackie O’s walkout

January 2025: Jackie speaks out about “boys’ clubs”

In an interview with Stellar magazine, Henderson reflected on her sobriety journey and the changes it had brought to her life and career.

But she also made pointed comments about the culture of parts of the media industry.

“Boys’ clubs still exist, and they treat women a lot of the time like you don’t matter,” she said.

“And that’s how Gemma [O’Neill] and I feel a lot of the time in our industry. We get very, very frustrated by it absolutely.

“It’s something of an old club that is eventually, hopefully, flushed out, but it’s frustrating to have interactions where we feel that way, and we are absolutely dismissed at times and ignored. It’s definitely not all men, but it still exists, absolutely.”

March 2025: A message about knowing your worth

Speaking alongside O’Neill at Radiodays Europe, Henderson shared a message she said she wanted women to embrace.

“Not just in the workplace when it comes to pay and receiving what they deserve, but also knowing what they deserve in life, in relationships,” she said.

“I think that value you have for yourself is so important.”

May 2025: Leaked studio argument emerges

Tensions within the studio came to light when the Daily Mail published audio of a heated argument between Henderson and Sandilands.

In the recording, Sandilands is heard criticising Henderson’s work habits.

“There’s a lot you don’t remember. Are you sure that you’re the full quid?” he said.

“I don’t know if you are. Remember the other day when I said something about being on the phone, and you said, “No, I haven’t”? We all laughed because nearly every break you were on the phone, but you genuinely thought that you weren’t.”

Henderson pushed back.

“That actually annoys me, that you did that, because I was on the phone – I was researching stuff to do with the segment that was coming up and I specifically remember that you guys were like, ‘pay attention to do some work’.”

“And I was like hang on a sec. I was actually doing work on the phone.”

Sandilands replied: “Okay. I’ll take your word for it. I don’t mean to be combative with you.”

“Okay I’m going!” Henderson responded before storming out.

“I’m constantly getting f***ing gaslit around here!”

“Can’t mention anything to you ever. Can you believe it?” Sandilands said as she left.

July 2025: Jackie reveals post-radio plans

Henderson revealed on-air that she had already been thinking about life after radio.

Speaking about the pair’s 10-year contract with ARN, she shared what she hoped would happen once the deal ended.

“That’s my plan, at the end of the 10 years to go to Italy and live there for six months every year.”

September 2025: Henderson storms out of studio

Another heated exchange between the pair saw Henderson walk out of the studio during an ad break.

The Daily Mail covered the story at the time, and Sandilands later told listeners the argument began when Henderson accused him of not being interested in what she was discussing.

“Any relationship is not always smooth sailing. She cracked the sh*ts and left, but fear not, this show will not miss a beat,” he said.

He added that the dispute began when Henderson felt he was dismissive of what she was saying.

October 2025: ACMA breaches force content review

The Australian Communications and Media Authority ruled the program had breached the commercial radio code on multiple occasions by broadcasting vulgar, sexually explicit and deeply offensive content.

Following the ruling, producers, at the direction of KIIS FM management, began tightening editorial oversight of the show’s content.

October 2025: Jackie admits the pair have been clashing

In an interview with the now-defunct T Australia, Henderson acknowledged that disagreements between the duo had been increasing.

“Kyle and I have been going head-to-head a little bit lately, so I will certainly speak up if I don’t agree with what he’s saying,” she said.

She also highlighted the pair’s ideological differences, describing Sandilands as being in the “Donald Trump-style camp” while she identified more with “woke” viewpoints.

February 2026: Jackie steps away from Besties

Henderson revealed she would be stepping back from her Besties podcast, which she launched with O’Neill.

The move added to speculation about whether the radio star is reassessing her workload and future commitments.

February 2026: Jackie steps away from the show

The simmering tensions finally erupted live on air when Sandilands criticised Henderson’s work ethic during the show.

“You’re not doing the rest of the job, and everyone in this building has mentioned it to me,” he said.

“It’s not great, it’s just a fact. Wake up (beep) .. I’m not lying to her to make her feel bad.”

Henderson responded: “Well, let management talk to me then. No, please, I welcome it.”

As the exchange intensified, she became emotional.

“I would never say things like that about you,” she said.

“There are so many things that you don’t do, and I would never bring them up, and I would never say what people say.”

Sandilands replied: “Feel free, it’s an open forum.”

But Henderson refused to continue what she described as a “tit for tat,” calling the situation “mean and nasty”.

She later stepped away from the show for several days to “gather her thoughts”.

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Wondering which media and advertising businesses are making progress on the gender pay gap? New figures published by the Workplace Gender Equality Agency (WGEA) show some of the biggest employers in media, agencies and digital are narrowing gaps year-on-year, but wide disparities remain across the sector.

WGEA released employer gender pay gaps for 2024–25 on 3 March 2026 via its Data Explorer, alongside its Employer Gender Pay Gaps Report. It is also the first release to combine private sector and Commonwealth public sector results.

How to read the data

WGEA publishes both average and median gender pay gaps.

In simple terms, the average pay gap can be pulled up by very high earners, while the median compares the “middle” pay for men and women inside an organisation.

A negative figure means women are paid more than men on that measure.

Media: some improvement, but gaps persist

Across the major media employers listed in the TrinityP3 charts, several organisations sit in single digits on the average pay gap measure for 2024–25, including Fairfax Media (Nine Publishing) at 7.5 per cent, Paramount (Network Ten Pty Ltd) at 7.6 per cent, and Seven West Media at 8.5 per cent.

At the other end, Fairfax Digital Australia & New Zealand shows an average pay gap of 27.1 per cent, Val Morgan 26.2 per cent, and Ace Radio 23.5 per cent. Several organisations also show large median gaps, including Fairfax Digital Australia & New Zealand at 39.2 per cent and Spotify at 25.1 per cent.

• Lowest average gaps (media list): Ooh Media Street Furniture (2.3%), Fairfax Media (Nine Publishing) (7.5%), Paramount (7.6%).
• Highest average gaps (media list): Fairfax Digital ANZ (27.1%), Val Morgan (26.2%), Ace Radio (23.5%).

The charts also highlight how workforce composition varies sharply. Are Media shows women as 81 per cent of workforce, while some entities are far lower, including Ooh Media Street Furniture at 11 per cent and News Corp Australia (Nationwide Newspapers Pty Ltd) at 17 per cent.

Agencies: a handful near parity, others still above 20%

Among agencies, the lowest average gaps in the TrinityP3 breakdown include Initiative Media (0.1%), Dentsu (1.0%) and WPP (6.9%).

However, several agency groups remain above 20 per cent on the average measure, including Publicis Communications (22.5%), Ogilvy (21.4%) and DDB Worldwide (21.2%).

• Lowest average gaps (agencies list): Initiative Media (0.1%), Dentsu (1.0%), WPP (6.9%).
• Highest average gaps (agencies list): Publicis Communications (22.5%), Ogilvy (21.4%), DDB Worldwide (21.2%).

Digital and classifieds: mixed results across platforms

In the digital and classifieds group, Facebook (Meta) reports an average pay gap of 0.8 per cent, iSentia 1.1 per cent, and Streem 4.3 per cent.

Higher gaps in that list include Domain at 18.6 per cent and REA at 14.0 per cent. Google reports 3.8 per cent on the average measure, but a much higher median gap at 16.6 per cent, underlining the differences between average and median reporting.

Where the national benchmark sits

WGEA’s latest benchmarks show that, across all employers, the median employer gender pay gap is 8.0 per cent (midpoint), while the overall median gender pay gap is reported at 16.4 per cent. WGEA notes that half of employers have an average gender pay gap larger than 11.2 per cent.

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On January 31, a small but sprightly 84-year-old woman was dropped off at home after dinner with her daughter – and hasn’t been seen since. It’s become one of America’s biggest ever missing persons cases.

So where is Nancy Guthrie?

As the mystery surrounding the missing mum of NBC’s Today host Savannah Guthrie, continues, one man might have answers:  journalist Brian Entin.

The seasoned news reporter, currently working at News Nation, has been at Nancy’s property in Arizona from the first day, updating the public on the police investigation, and being a detective himself.

He’s found some extraordinary evidence.

How Brian Entin found Nancy Guthrie’s blood

Speaking exclusively to Mediaweek, Entin talks about his time looking for Nancy, and the incredible find one day when the police had removed the crime-scene tape, and the team knocked on her door.

“One of our photographers actually shot the video of Nancy’s front steps,” he says.

“We realised the crime scene tape was down and wanted to knock on the door to see if anyone was home. It was shocking when we realised there was still blood on the front steps.”

Entin revealed to the world that there was a trail of blood at Nancy’s door, with his team obtaining disturbing footage of it.

“I can’t remember another time we discovered something quite like this.”

In a later interview, Entin recalled how the moment unfolded: “The cameraman Nick actually went up before me and was the one who said: “Oh my gosh, there’s blood up near the doorstep.”

Entin was shocked, the reality of the danger Nancy was in was sinking in, and that the police had left the scene unattended.

The FBI advised that the property should be closed again after the discovery.

Entin says that while the evidence was crucial in finding out what happened to Nancy, he still walks a fine line with the authorities.

“We are always careful not to interfere with police investigations. We never would have approached the house if it were still a crime scene.

“At the end of the day, we all want Nancy to come home.”

During his decades-long career, Entin also reported on the high-profile Idaho murders of four college students in 2022. He also spent seven weeks before that, in 2021, camping outside the house of Brian Laundrie’s parents following the disappearance of Gabby Petito.

“When I cover a case, I do what I call ‘locking in’. It becomes my life,” he says.

“I have been in Tucson for 25 days – most of that time outside Nancy Guthrie’s house, keeping an eye on all the developments.

“The police have a job. And journalists have a job. It is our job to hold them accountable and to fairly report on the case.

Savannah Guthrie, her sister Annie, and her brother-in-law Tommaso visit the memorial outside Nancy’s house just now. pic.twitter.com/GPg0QZB21i

— Brian Entin (@BrianEntin) March 2, 2026

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The boardroom battle for Warner Bros. Discovery (WBD) has officially ended, and the real streaming war now begins. Following Netflix’s abrupt exit from the bidding war late last week, Paramount Skydance boss David Ellison confirmed his $110 billion victory comes with a massive streaming shakeup.

Speaking on an investor call on Monday, the chief executive outlined his vision for the newly merged media behemoth. The headline act? Paramount+ and HBO Max will combine into a single, unified streaming platform.

The 200 Million Subscriber Play

Ellison told Wall Street analysts the combined entity will boast just over 200 million direct-to-consumer subscribers worldwide. This figure simply adds WBD’s estimated 123 million subscribers to Paramount’s 79 million, glossing over the inevitable overlap of households paying for both services.

However, the intention is clear. Paramount wants the scale to directly challenge Netflix, which finished 2025 with 325 million global subscribers. By housing HBO juggernauts like Succession and The Sopranos alongside Paramount heavyweights like Yellowstone, the merged platform aims to create an indispensable content library.

Ellison noted the sheer volume of premium content drives engagement and long-term retention, adding that HBO chief Casey Bloys will continue to operate the prestige brand with creative independence.

Tech stacks and naming headaches

While the HBO brand remains somewhat insulated, the underlying technology will undergo a radical transformation. Ellison plans to migrate the combined library onto a unified tech stack.

Given Paramount is already busy blending the backend operations of Paramount+, Pluto TV, and BET+, Paramount will likely fold WBD’s streaming architecture into its own existing ecosystem.

The name of this incoming super-streamer remains a mystery. WBD has already dragged its flagship platform through three painful identity crises, shifting from HBO Max to Max and back to HBO Max again over the last five years.

Whether Paramount forces another rebranding exercise or adopts a dual-brand approach remains entirely up in the air.

The ultimate sports destination

Beyond prestige drama, the combined platform will immediately become a terrifying proposition for sports broadcasters.

By pooling the broadcast rights held by CBS Sports and TNT Sports, the new service will serve as a digital home for the NFL, March Madness, the UFC, and the Champions League.

The $79 billion reality

While the content pipeline looks formidable, the financial reality is sobering. The newly merged Paramount will shoulder a breathtaking $79 billion debt load. Ellison has promised Wall Street $6 billion in cost-saving synergies over the next three years.

The majority of these savings will reportedly come from consolidating real estate, marketing, and overlapping tech stacks.

Executives remained notably evasive on what this means for consumer pricing. With recent analytics data suggesting nearly eight million Americans currently pay for both platforms, the transition to a single, inevitably more expensive tier will serve as the ultimate test of subscriber loyalty.

The deal still faces regulatory hurdles, with a targeted closing date of September 2026. However, Ellison assured investors his team sees no statutory impediments to the takeover.

If he is right, the global streaming landscape will look fundamentally different by this time next year.

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Australia’s digital audio sector is poised for further growth, with advertisers signalling increased investment in podcasts and streaming audio, according to the latest Digital Audio State of the Nation Report from IAB Australia.

However, the report also warns that the market’s long-term scale will depend on the industry’s ability to strengthen measurement, prove effectiveness, and responsibly adopt emerging technologies such as AI.

Now in its 10th year, the report tracks the evolution of Australia’s digital audio ecosystem, including shifts in advertising formats, investment drivers, technology adoption, and advertiser sentiment across streaming audio, podcasts, and video-podcast environments.

The findings will be formally unveiled at the IAB Australia Audio Summit, where industry leaders are examining how digital audio integrates with broader digital advertising strategies, trading models and measurement frameworks.

Advertisers signal growing investment

The research found a strong appetite for increased investment in digital audio formats.

According to the report, 69% of audio ad buyers plan to increase spend in original content podcast advertising, while 56% intend to boost investment in streaming music advertising.

Video podcasts are also gaining traction. Around 25% of respondents have already included the format in campaigns, while a further 50% said they have researched the opportunity.

Audience attention, brand-building capabilities, brand integrations and access to talent and content creators were identified as major drivers behind the continued expansion of audio advertising.

The findings build on momentum identified in previous editions of the report, which have tracked steady growth in digital audio’s role within the broader media mix.

Measurement and standards still a hurdle

Despite the optimism, the report highlights persistent industry challenges around measurement and standardisation.

Gai Le Roy said advertiser confidence increasingly depends on clearer proof of outcomes and consistent measurement standards.

“There is clear positive sentiment around digital audio, with buyers signalling continued growth across podcasts and streaming. What’s equally clear is that investment confidence increasingly depends on outcomes-based measurement and consistent standards that allow audio to sit comfortably alongside the broader digital mix.

“At the same time, the expansion of the creator economy and the rise of video podcasts are reshaping how brands show up in audio environments. As an industry, we need to innovate around measurement, trading models and creative integration to ensure growth is matched with clarity and credibility.”

The study found standardised data remains essential for integrating digital audio into planning tools such as Market Mix Modelling (MMM), which is now the leading tool for assessing sales impact and ROI, used by 44% of respondents.

However, fragmented formats and the lack of consistent standards across the audio ecosystem continue to present challenges for advertisers.

AI adoption cautious but growing

The report also found the industry is exploring the use of AI in audio planning, campaign activation and ad production, though sentiment remains cautious.

The greatest perceived opportunity lies in performance tracking, reporting and campaign optimisation.

However, 53% of Australian ad buyers expressed concerns about the use of AI in audio content production, particularly around host-read advertising and voice cloning, where authenticity remains a key issue.

Steve Golding, who also serves as Chair of the IAB Australia Audio Council, said digital audio’s evolving capabilities are strengthening its role within the media mix.

“The future for digital audio advertisers is increasingly compelling. As the channel scales within the media mix, advances in targeting, dynamic creative, and experimentation with content creators will make audio campaigns even more relevant, accountable, and effective, allowing them to deepen connections with audiences and build trust at scale.”

Revenue growth reinforces momentum

The report lands just days after the release of the Internet Advertising Revenue Report, also from IAB Australia and prepared by PwC Australia.

That report found digital audio revenue grew 8.5% year-on-year to reach $338.7 million in calendar year 2025, reinforcing the category’s continued expansion within the broader digital advertising market.

Creator economy and programmatic buying gaining traction

Additional findings from the research highlight the growing influence of the creator economy and shifts in buying behaviour.

Access to talent and content creators jumped 10 percentage points year-on-year, making it the second most important driver of digital audio advertising investment after audience attention and engagement.

Around 61% of respondents have already used podcast creators or talent as part of their creator marketing strategy, with a further 17% considering the opportunity.

The report also identified a shift towards performance-focused investment. While digital audio has traditionally been used for brand-building, 37% of respondents said they plan to increase the share of spend on performance advertising, compared with 27% expecting to increase brand-focused investment.

Programmatic audio buying remains widespread, with 72% of respondents purchasing audio programmatically in 2025.

Among those buyers, 68% intend to buy streaming audio guaranteed deals in 2026, up from 51% in 2025, while 62% plan to buy podcast advertising guaranteed deals, up from 43% last year.

Industry backing and methodology

The report was supported by Commercial Radio & Audio and 19 media and technology companies, including Acast, ARN, Blis, Foxtel, Google, Magnite, News Corp Australia, Nine Radio, NOVA Entertainment, Publicis Groupe, SCA, Spotify, The Trade Desk, Triton Digital, Yahoo, WPP Media and Zenith.

Fieldwork for the study was conducted in November and December 2025 and included 128 survey responses from decision-makers involved in allocating marketing spend.

The majority of respondents (95%) were from advertising agencies, including holding groups and independent agencies, while the remaining 5% represented brands or companies that buy audio advertising.

Main image: AI-generated

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Paramount Australia has appointed Helen Elliott to the role of Queensland Sales Director (Ad Sales).

Reporting to General Manager – Ad Sales Nick Bower, Elliott will lead the Queensland advertising sales team across Paramount Australia’s full portfolio, including 10’s metro and regional broadcast assets, streaming platforms and Paramount+.

Elliot’s past experiences

Elliott previously led the 10 Regional sales team as Head of Regional Sales Brisbane, following Network 10’s acquisition of Southern Cross Austereo’s regional television licences in Queensland, southern New South Wales and Victoria, along with WIN Network’s Northern New South Wales licence.

Bower said Elliott’s appointment ensures continuity in a changing market.

“Helen’s depth of experience, outstanding reputation, and strong connection to the Queensland market make her the ideal leader to help guide Paramount into its next chapter. I can think of no better person to continue Kat Droulers’ wonderful legacy,” Bower said.

“As our marketplace continues to evolve, consistency and continuity will be critical in helping our business, our teams, and most importantly our clients navigate the changing media landscape. Helen’s kind-hearted values, combined with her unwavering ambition to win, create a powerful foundation for success now and into the future.”

Elliott comments

Elliott said she was focused on building on the team’s momentum and strengthening cross-channel collaboration.

“It’s an honour to step into this role. I have tremendous respect for Kat and the commitment she showed our team and our clients, and I’m determined to continue building on that energy,” Elliott said.

“With my background in regional TV and experience leading client teams across all channels, I’m passionate about fostering deeper collaboration across the Total TV ecosystem. As Paramount continues to evolve, I’m excited to bring forward-thinking, solutions-driven opportunities to our clients and help drive meaningful growth for their brands.

“My vision for our team is to think boldly, act decisively, and deliver outstanding results.”

Top Image: Paramount Australia

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There was a time when some Aussie classics pushed right up against the line, where the boundary between bold creativity and straight-up misogyny or animal abuse felt blurry at best, and somebody’s uncle in the approval room might have given it a thumbs up anyway.

The audiences were different. The media environment was different. Society was different.

Ten years ago, we weren’t navigating a world shaped by AI, bots and algorithmic amplification. Humour landed differently. Nostalgia hit without a disclaimer.

But does the humour that worked back then still hold enough space today to push those necessary creative boundaries? Or does the threat of sensitivity debates and cancel culture jump scares stop ideas before they even get close to the line?

To unpack it, Mediaweek reached out to some of adland’s top creatives to share their favourite “toxic” tale, the campaigns that made them genuinely laugh, even if they would never make it past legal today, and to reflect on how creative approval processes have evolved.

Jeff Malone, Chief Strategy Officer at Town Square

Malone is quick to challenge the premise that advertising has declined.

“It’s too easy to say that a lot of today’s advertising sucks,” Malone says. “I heard the same things twenty years ago when I got into the industry, and it was no more true then than it is now.”

He argues the industry suffers from selective nostalgia.

“We tend to romanticise the past, remembering a handful of great ads while forgetting the 99% that were crap. And that was when there were far fewer advertisers out there with far fewer channels to reach us. So sure, there are probably more ‘bad’ ads out there today, but we’ve got to remember, there are a lot more ads, period.”

When it comes to the campaigns, people insist “couldn’t be made today”, Malone suggests many simply would not resonate with modern audiences.

“Classic beer ads are often touted as examples of ‘the good old days’, while ignoring or forgetting a lot of these objectified women, promoted toxic behaviours, reinforced stereotypes and in today’s world would alienate more audiences than they’d bring in.”

He rejects the idea that bold work has vanished while taking a dig at Didi, Telstra, and Specsavers campaigns

“To think we’re not making incredible work would require ignoring the brilliant batshit insanity of Didi’s latest campaign, the spit-take surprise of Specsavers ‘Welcome to Melbourne’ banner at the Sydney airport, or pretty much anything Telstra’s been up to under Brent Smart.”

For Malone, the core issue is not wokeness but courage.

“There aren’t enough Brent Smarts out there. There never have been. Bravery, unfortunately, has always been in short supply.”

What has shifted, he says, is fear.

“If the best advertising works because it’s doing something no one’s seen before, then whoever’s got to sign off on it has to feel comfortable with the risk.”

With restructures, looming layoffs and increasing scrutiny from CEOs, the personal cost of backing bold work has grown.

“Add the threat of AI, the shrinking power and presence of CMOs, and the declining confidence of CEOs in their marketing leaders, and it shouldn’t surprise anyone when a client chooses predictable over provocative.”

His solution is blunt.

“In a nutshell, we need to make risk feel safe. Bringing back jingles wouldn’t hurt either.”

Sophie Beard, Creative Director at Clemenger BBDO Melbourne

Beard points to Antz Pants’ “Sic ’em Rex” as an iconic campaign that might struggle in 2026.

“Would it still get made today? Maybe not in its current form,” Boyd says.

She acknowledges its male gaze framing, but also its underlying subversion.

“At its core, it still has a feminist heartbeat. It’s a woman commanding an echidna to ‘sic ’em’.”

Approval processes have evolved alongside measurement.

“Alongside traditional focus groups, there’s now AI-generated ‘synthetic audiences’. Not only do we have to convince humans to make our ads, but now we need to win over the robots.”

She welcomes more formalised inclusion checks, but warns against excessive caution.

“Being overly cautious and second-guessing ourselves doesn’t lead to great work. We still have a responsibility to show a version of Australia that pushes us forward.”

For Beard, boldness does not require offence.

“You can still be bold without being offensive.”

Dom Megna, Executive Creative Director at Spinach

Megna looks back fondly on the Wally Walpamur paint campaign from the 1980s, featuring chimpanzees in human clothes with badly dubbed Aussie voices.

“They were hilarious,” Megna says. “But apart from the fact they rightly wouldn’t get made today for animal safety reasons, the loose, Aussie, schlocky humour is something you don’t see anymore.”

He believes humour itself has been diluted.

“Humour now is often muted to the point where it doesn’t quite land. Brands don’t want to be seen as flippant, and while many aim to be fun for all, they’re not funny to anyone. It’s like humour got a reverse lobotomy, overthought to the point of not funny.”

On approval processes, Megna says change has been incremental rather than dramatic.

“The past 10 years? Not so much. Possibly more levels of approvals, but this varies per client. Ad Standards have been around a lot longer than that.”

However, brand safety has become a much larger consideration.

“More opinions matter. Used to be more common that if the CMO or MD believed in it enough, that was it. Brand safety is a much larger consideration now as well.”

Asked whether the industry is more cautious or more accountable, Megna says it is both.

“With the increase of risk aversion, there’s more thought placed on what might be wrong with the work than what might be right.”

He adds: “We’re in advertising, if it’s between fight or flight, most will flight.”

Owen Bryson, Creative Director at Clemenger BBDO

Bryson cites Cash Converters’ “Thirteen” as an ad that would struggle to get made today.

“This is a prime example of something that would struggle to get made today. Firstly, the brand isn’t mentioned until 41 seconds in. Secondly, I think legal might have an issue with the whole eye-poke-assault thing.”

Approval processes, he says, now involve more layers.

“I think there are probably just more layers of approval, more opinions to consider: agency, client, regulatory bodies, research. More pecking by more ducks.”

He believes caution is directly linked to accountability.

“We are more cautious because we are more accountable.”

And while he thinks the industry has become less bold, he remains hopeful.

“That Cash Converters ad was made 26 years ago. Two years ago, someone remembered it. I don’t think there’s anything on air at the moment that will be remembered in a year let alone 20.”

“But I also don’t think we’re incapable of making ads people will remember in 20 years. All it takes is a handful of smart, brave and talented ducks to trust their duck-guts and take a little bit of a risk.”

Top Image: AI-Generated

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Bad Bunny’s long-awaited Australian debut has wrapped, but the cultural aftershock is still reverberating across the live music industry.

Across two nights at Sydney’s ENGIE Stadium, close to 90,000 fans turned out for the Puerto Rican superstar’s first-ever Australian shows, setting a new attendance record for a concert at the venue and underscoring the growing power of Latin music on the global stage.

For promoters and platforms alike, the turnout signals something bigger than a successful tour stop. It reflects a structural shift in audience tastes, where language is no longer a barrier and artists performing outside English are increasingly driving mainstream demand.

The artist, born Benito Antonio Martínez Ocasio, announced his only Australian shows in May last year.

The dates arrived amid a run of career-defining milestones that have propelled him from Latin music heavyweight to one of the most influential figures in global pop.

In 2025, Bad Bunny was crowned Spotify’s most-streamed artist globally. That momentum continued into 2026, when he secured a historic Grammy Awards win and delivered a widely discussed Super Bowl halftime performance celebrating Puerto Rican culture and identity.

Together, those moments helped build anticipation for his arrival in Australia and revealed just how ready local audiences are for music that transcends language.

 

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Fans are listening beyond language

Audience behaviour is shifting quickly.

According to Live Nation’s Living for Live Global Study 2025, listeners are increasingly embracing music that originates far outside their own cultures.

More than three in four fans say language doesn’t really matter when it comes to the music they enjoy. Nearly 70% report listening to more global artists than they did a few years ago, while 65% actively seek out music from other cultures. Over half say at least 50% of what they listen to is not in their primary language.

The findings help explain why artists like Bad Bunny, who perform primarily in Spanish, are commanding stadium-sized audiences around the world.

Renée Hermsen, Head Promoter NZ at Live Nation Australasia, told Mediaweek Latin music’s rise has been building for years, even if it has recently accelerated.

“I think in a way, it’s kind of had a bigger appeal, Latin music, for quite some time. If you think about your Shakiras.”

But the appeal of the genre now goes beyond individual stars.

Hermsen says the appeal of Latin music goes beyond chart performance or streaming numbers. At its core, she argues, the genre taps into something more emotional – a sense of joy, connection and shared experience that resonates with audiences across cultures.

“I think now it’s just such an infectious sound, and it’s music made for dancing most of the time. It’s made for a lot of joy and connection. I think that’s what is very appealing, especially when there’s quite a bit of negativity and feelings of isolation in the world.”

That celebratory spirit, she said, is part of what allows the music to travel so easily across borders. Even when listeners don’t understand the lyrics, the energy and atmosphere still translate.

“Then something like this is just like, you want to be a part of it,” she said. “And I think it’s also very open, even though it’s a different language, it’s open, it’s diverse, it’s a celebration. Yeah, those are all really appealing characteristics of the culture.”

Social media speeds up global fandom

If streaming has broadened music discovery, social media has dramatically accelerated the pace at which cultural moments spread.

Hermsen says platforms like TikTok and Instagram now allow performances to reach global audiences almost instantly.

“That’s such a big part. To be honest, with any movement nowadays, social media plays such a big part,” she said.

“You could be watching something live, and within minutes, everything is online. It’s incredible how connected we all are across the globe, because of social media.”

That global visibility was on display during Bad Bunny’s Super Bowl appearance, which celebrated Puerto Rican culture on one of the world’s biggest entertainment stages.

But Hermsen is quick to caution that he’s not the first Latin American artist to perform at the event.

“Shakira, Jennifer Lopez, Enrique Iglesias – they’ve all been on that stage. But l for someone to play the full show entirely in Spanish, shows such a big celebration of Puerto Rico and Puerto Rican culture and identity.”

From Latin star to global icon

Over the past decade, Bad Bunny has steadily expanded his cultural footprint far beyond music.

Hermsen says Bad Bunny’s rise has been more than just a typical chart climb. Over the past decade, the artist has steadily built momentum within Latin music before breaking through as a global cultural figure.

“During the last 10 years, he’s been making music and climbing quickly in the Latin world.”

What began as a dominant run within the Latin music scene has since expanded far beyond the genre. As his audience has grown, so too has his cultural footprint – spanning music, fashion and entertainment.

Hermsen notes that Bad Bunny’s reach now extends well beyond the traditional boundaries of Latin music, with global streaming success, major fashion campaigns, television appearances, and acting roles helping cement his profile.

“He’s done all these fashion campaigns, he’s been on Saturday Night Live, and he’s done a bunch of acting.”

That crossover visibility, she says, is part of what has elevated him from genre star to something far larger.

“So he’s become so much bigger than just Latin music. I think he’s becoming an icon.”

The global attention surrounding the tour, fuelled by viral clips and awards-season momentum, only added to the buzz around the Sydney shows.

Opening Australia to a new wave of global artists

For promoters, the scale of Bad Bunny’s Australian audience suggests the country could soon see more tours from artists performing outside English.

“I feel like this is a starting point,” Hermsen said.

“Bad Bunny is opening up this market. And there’s a lot of interest because it really is a wonderful touring destination.”

“A lot of artists are keen to come here, especially now that they’re seeing it, there is actually a really solid market.”

Unlike other touring regions, Australia draws most of its concert audiences from local rather than neighbouring countries, making the scale of the response particularly significant.

“So it’s really showing how much interest and excitement there is for this tour. But I’m very confident that it’s for Latin music and Spanish-speaking music, much broader and generally non-English-speaking music for that.”

If Bad Bunny’s record-breaking Sydney run proved anything, it’s that Australia’s music audience is rapidly becoming more global, and the next wave of non-English-language superstars may already be lining up to test the market.

Main image: Bad Bunny

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Future Women has partnered with CommBank to launch its first video podcast, marking the fifth year of their collaboration on the award-winning series There’s No Place Like Home.

The fourth season, titled Paths to Healing, will roll out as a six-episode video podcast from today, platforming victim-survivors of domestic and family violence alongside organisations focused on long-term healing and recovery.

The move signals a format expansion for Future Women as the media company continues to evolve its audio portfolio under its long-standing partnership with CommBank’s Next Chapter initiative.

A format first for Future Women

“We’re really pleased that our first video podcast will reveal not just the difficult realities but also the incredible work and progress that’s being made to support victim-survivors across the country,” said FW Managing Director Helen McCabe.

“This is the fifth year FW has produced There’s No Place Like Home and every season has been recognised for its groundbreaking storytelling. But I’m most proud of our trauma-led approach and the way we work with victim-survivors to tell their stories on their own terms.”

Executive producer Sally Spicer steps into the host role for the new season, leading conversations with victim-survivors and organisations piloting programs designed to support long-term recovery.

Spicer said, “I’ve been part of the team behind the series from the beginning and it’s an honour to step in front of the microphone. It was a privilege to host empathy-led discussions that honour the safety, dignity and expertise of the survivors who trust us enough to share this part of their lives.”

“Even after four seasons, I’m still so proud that FW is able to create a series that centres lived experience and expertise above all else – from embedding lived expertise into production with a sensitivity consultant, to collaborating with the guests who join us.”

Extending the CommBank Next Chapter partnership

There’s No Place Like Home: Paths to Healing was created as part of Future Women’s ongoing partnership with CommBank Next Chapter, an initiative aimed at helping end financial abuse and supporting long-term financial independence.

CommBank’s Group Customer Advocate Angela MacMillan said, “We’ve learned that recovery from financial abuse is a longer journey that looks different for everyone. That’s why this season of There’s No Place Like Home matters. It brings together people with lived experience, alongside community organisations, to share what long-term healing really involves.”

Weekly episodes will be available from 3 March across Spotify, Apple Podcasts and YouTube.

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By Ann Murphy, Senior Account Manager, Third Hemisphere.

When I left London, I had a good job, big clients, and a comfortable career path ahead of me. I knew the ropes. Then I gave it all up and booked a one-way flight to Sydney.

The shock of starting over hit quickly. In London, I was the central hub for European markets – people came to me for answers. In Sydney, no one knew my name. The market was different, the business culture unfamiliar, and my strongest contacts were 17,000 kilometres away.

Starting again meant rebuilding trust and the unglamorous work of proving yourself in small increments. One phone call, one pitch, one coffee meeting at a time. It was bruising, but it taught me something I didn’t properly understand before – reputation doesn’t automatically transfer; you have to earn it twice.

Each small win carried more weight because it was earned without history on my side. I realised that risk compounds into resilience, and that sometimes, rebuilding from the ground up teaches you more than standing still never will.

Once I’d proved I could rebuild, the question shifted. It wasn’t “how do I succeed here?” It was “what kind of work do I want to build a career around?”

For years, I’d been part of global agencies, surrounded by big clients and global budgets. But the longer I stayed, the more I craved something purpose-driven. By then, I’d already triggered my notice period with no next step lined up apart from a flight home to Manila after living overseas for so long.

After a little soul searching, that curiosity eventually led me to Third Hemisphere, a firm focused on impact.

Booking a one way flight for a job that technically, didn’t exist

I still remember hovering over the “confirm booking” button, a ticket from Manila back to Sydney, just for a meeting with a company that wasn’t even hiring. Friends told me I was reckless. Perhaps they were right.

After a long flight for what turned out to be a cancelled meeting, I found myself on a flight home twiddling my thumbs in defeat. Until I managed to wrangle another one four months later.

By that point, I had other offers. Good ones. The kind of roles that would have made sense on paper – stable, senior, and secure. But none of them aligned on my values. Like a dog with a bone, I’d already decided the path I wanted, even if the job didn’t technically exist yet.

When I finally met Hannah and Jeremy, I told them I was tired of doing work that looked good but didn’t do good. I wanted to work with people who cared about solving real problems through science, technology, and social policy. They spoke about purpose with the kind of clarity that made you want to run through walls. I was sold.

When the offer finally came, it wasn’t the one I expected. The role was part-time. Shit.

Fear knows how to dress up bad career advice as logic

I felt two reactions at once. First, the urge to accept immediately – because after all that chasing, saying yes would have been the neat ending. It would have been easy to justify – take it now, prove yourself later.

Second, a sinking feeling that I couldn’t ignore – this wasn’t aligned with how I wanted to show up. It felt like a punch in the gut being asked to step in halfway. It wasn’t a bad offer. It wasn’t unfair.

This is the moment people accept out of fear – and fear is a very persuasive career adviser. Many people do, for understandable reasons. A job, any job, can feel like relief when you’re uncertain or running out of runway.

But saying yes for the wrong reason can be expensive. Not always in money, often in confidence, resentment and self-respect.

For me, what I also knew was that saying yes out of fear would have undone everything I gave up that brought me here in the first place, including the kind of leader you don’t forget.

So, I said no. An excellent choice, according to no one in my circle.

Let’s make it bloody count. Otherwise, why bother?

That decision was terrifying. It’s one thing to take a risk when everything’s in your favour. It’s another to back yourself when it feels like the world might not.

That’s the part no one tells you about backing yourself: it’s equal parts belief and heartbreak. But in that uncertainty and the longer I sat with it, the more I realised that self-belief isn’t built in moments of success and is built in the space between rejection and resolution.

Turning something down isn’t arrogance if you can explain the reasoning clearly, I thought. And then I waited, trying not to talk myself into regret.

They came back with a full-time offer and I accepted knowing I hadn’t bent myself to fit an opportunity.

That’s when I understood what people mean by “alignment.” It’s the point where your values, your work, and your self-worth finally start speaking the same language.

My story isn’t unique, but it’s a reminder that sometimes you have to leap before the path appears and If something meaningful is pulling at you, don’t ignore it.

For anyone standing at the edge of a decision that scares them, take the one-way flight. The hardest choices to justify are often the ones that change you the most. Mine took me thousands of kilometres away, and right where I needed to be.

Feature Image, Ann Murphy, Senior Account Manager at Third Hemisphere: Image supplied.

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Weather reporters are often forced to resort to all sorts of tactics to bring human interest to their segments.

That’s a remit which news anchor Carney Porter and meteorologist Michael Bohling from Texas news station KFDX 3 took very seriously yesterday.

During a live broadcast, the two professionals bickered about the weather report in an awkward exchange – which of course was highly entertaining to the rest of us. The whole world, in fact, as a clip of it has gone viral.

During the fiery and not remotely light exchange, a video of which was reposted on Facebook by a viewer, Porter commented that there wasn’t “any rain” in the forecast, to which Bohling argued, “I just said a second ago we have rain in the forecast.”

“Well, I am not talking … I’m talking about three or four days coming,” Porter said. Bohling responded, “Actually, the rain chance is coming before the event.”

Porter then snapped, “Stop trying to correct people and just do your job.”

The weatherman responded, “I just don’t know why you don’t listen to me,” which prompted the news anchor to reply, “’Cause you’re boring.”

Bohling concluded the exchange with, “Wow, wow, okay.”

The Facebook viewer has since deleted the video, which had been captioned, “What just happened!?! That was a SPICY exchange for 10 o’clock news!!😳🤣.”

“We talk trash to each other all day”

In an attempt to minimise the exchange, Bohling issued a statement saying, “Carney and I are super close, nearly siblings in a way. We literally talk trash to each other all day, and sometimes it comes out on-air. Trust me, it’s all love.”

Not quite the professional response required; neither was his quote to People in which he revealed he was “honestly shocked by how much” the exchange “has blown up.”

“Carney and I are known for giving each other a hard time, and our community loves us for it,” he said. “We really didn’t even give it a second thought after it happened. Then the next day, it was all over Facebook.”

“We’re super close, like siblings, and there’s no negative feelings between us whatsoever. The last couple [of] days have been pretty crazy!” Bohling concluded.

In a further attempt to make light of the situation, he posted a rather unnecessary photo of himself and Porter pretending to box each other. The photo was captioned, “I think it’s time for us to just drop the gloves already.”

He added, “Ok, so I’m going to address this one more time, for folks that still aren’t sure. The video going around is just how we mess with each other. We tend to lose track of the fact that we’re on TV at 10 p.m. (we’re tired just like you), and sometimes we go over the top, lol.

“Carney and I love each other like family. I promise you that. Any time you hear us bicker, we are just messing with each other. Because at the end of the day, we always have each other’s backs,” he concluded.

Carney Porter responds to live argument

Porter also responded on Facebook: “I know it seems like Michael and I give each other a hard time, but please understand that it is always and only in good fun,” the news anchor wrote.

“We are actually close friends, and we love to be sarcastic with each other, and sometimes those instances can come off sounding a bit more serious than they actually are, especially for those who don’t know the dynamics of our friendship off the air.”

“But that being said, I would NEVER intentionally be mean or hurtful to Michael or anyone in our newsroom, whether it be on or off the air.

“We are all really close, and I’m so lucky that we are all such great friends! For those who found the moment uncomfortable, I sincerely apologise!”

Top Image: News anchor Carney Porter and meteorologist Michael Bohling from Texas news station KFDX 3. Image: Facebook

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A new national initiative from Squiz Kids is inviting Australian primary school students to imagine themselves in the country’s top job – and explain the one thing they would change if they were Prime Minister for a day.

The competition, PM for a Day, is being launched via the Squiz Kids podcast and will see the winning student flown to Canberra for a behind-the-scenes experience at the heart of Australia’s political system.

The initiative is a collaboration between Squiz Kids and the Office of the Speaker of the House, Milton Dick MP, with additional support from the Office of the Governor-General.

A civics lesson with real-world stakes

As part of the competition, students are invited to submit a short video explaining the single change they would make to improve life in Australia if they were Prime Minister for a day.

The winner will be flown to Canberra on March 31 for a day on Capitol Hill, including a personalised tour of Parliament House, a guided visit to Government House led by the Governor-General, and the chance to meet federal parliamentarians – and possibly even the sitting Prime Minister.

According to Squiz Kids director Bryce Corbett, the initiative is designed to spark curiosity about democracy among younger audiences.

“PM For A Day is part of Squiz Kids’ continued effort to improve civics engagement among Aussie kids,” explained Corbett.

“We firmly believe that if the next generation doesn’t understand our system of government – and how and why it’s so precious – they won’t grow up motivated to nurture and protect it.

“Together with Newshounds – our digital literacy program for primary school kids, currently in over 5,000 Aussie classrooms – ‘PM For A Day’ is part of Squiz Media’s effort to help safeguard Australia’s democracy.”

Podcast meets classroom

The competition extends the work Squiz Kids has already been doing in schools through its Newshounds digital literacy program, which is currently used in more than 5,000 classrooms across Australia.

Entries will be judged by a panel that includes journalist and author Annabel Crabb, House Speaker Milton Dick MP and Shadow Cabinet Secretary Zoe McKenzie MP.

The program also complements the Parliamentary Education Office’s Parliament in Schools initiative run by the Office of the Speaker.

Backed by democracy initiative

The PM for a Day competition is supported by McKinnon, formerly the McKinnon Foundation, as part of its Democracy Counts initiative, which aims to strengthen civic participation and democratic understanding in Australia.

Through the Squiz Kids podcast platform, the organisers hope the program will not only inspire students to think critically about government but also encourage broader conversations about civic responsibility among younger Australians.

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