Paramount ANZ has added two senior figures to its content leadership team, with Tamara Simoneau and Yeesum Lo both stepping into newly created vice president roles.

Effective immediately, Simoneau has been appointed Vice President, Content, while Lo becomes Vice President, Content Business Affairs and Strategy.

The move follows Daniel Monaghan’s resignation from Paramount ANZ, where he had been in the role of Senior Vice President of Content and Programming since 2021.

He’s heading over to Foxtel Group, where he’ll work as their new Executive Director – Entertainment Content, taking on responsibility for entertainment content, strategy and channels across Binge and Foxtel.

Monaghan’s role will start in February 2026, after it was vacated by Wendy Moore.

Simoneau takes on content leadership

Simoneau joined Network 10 in 2020 and has since been closely involved with some of the network’s biggest programs. Her credits span I’m A Celebrity… Get Me Out Of Here!, Gogglebox Australia, Australian Survivor, The Masked Singer, The Living Room, The Project and Studio 10.

Her new role will see her leading content strategy across the Paramount ANZ portfolio at a time when local programming remains central to the company’s broader audience offering.

Lo steps into business affairs and strategy

Lo moves into her role from Head of Development, where she has been integral to commissioning and developing local productions across multiple platforms.

She also brings a wealth of international and commercial expertise from her earlier work at Endemol Shine.

As Vice President, Content Business Affairs and Strategy, Lo will focus on shaping the commercial and strategic direction of Paramount ANZ’s programming pipeline.

Leadership endorsement

Beverley McGarvey, President of Network 10 and Head of Streaming, Paramount ANZ, said the appointments reflect the strength and depth of the team. “I am delighted to welcome Tamara and Yeesum to these new leadership positions on our content team. They both have impressive track records and will play an important role in driving our programming slate across our platforms.”

In an email to staff sighted by Mediaweek, McGarvey also wrote: “Both Tamara and Yeesum have impressive track records and will play a vital role in driving our programming slate across our platforms.”

She went on to thank Monaghan for his work with the company: “Throughout his tenure, Daniel has helped deliver some of Australia’s most popular programs. He has not only overseen an ever-evolving content landscape but has also played a pivotal role in redefining the way audiences across Australia connect with our content.

“Daniel’s legacy includes a talented team now led by Tamara and Yeesum who are well-placed to drive the network’s continued success.”

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In a major win for Google, a US federal judge ruled that the court would not force Google to divest assets, selling off its Chrome browser or Android operating system.

While Google will be able to keep its assets, US District Judge Amit Mehta ordered the search giant to end exclusive deals that make Google the default search engine on phones and other devices. Google will still be permitted to pay device makers to preload Google products, including search and generative AI products.

Google will also be compelled by the court to share search data, inclusive of search index and user interaction data, with third parties. It will not be forced to share advertising data. Judge Mehta also called an oversight committee to monitor Google’s compliance with the ordered measures for six years.

These remedies follow a ruling last year that Google maintained an illegal monopoly after the US Department of Justice filed an antitrust suit against Google in 2020. The DOJ contended that Google used exclusive agreements with device makers like Apple and Samsung to reduce competition.

Mehta suggested that the tech landscape has shifted dramatically since the antitrust case was first filed, as generative AI tools have “changed the course of this case.” Mehta said that he wanted to make sure that Google’s search dominance didn’t continue on in the “GenAI space.”

The Chrome browser generates 35% of Google’s search volume in the US. It is the most-used web browser globally, with four billion users. A forced sale of Chrome would have struck Google a massive blow, with the browser a key tool in its continued monopoly in online search.

The ruling comes at a time where Google’s dominance in search has been threatened for the first time, with generative AI platforms like ChatGPT attracting users with a new approach to search. ChatGPT has estimated it is already seeing 1 billion queries every day, which is an eye-popping figure, but also represents just 7% of Google’s traffic.

In June of last year, Apple struck a deal with OpenAI to integrate ChatGPT into iOS, iPadOS, and macOS. Users can access ChatGPT’s capabilities, including image and document understanding, without needing to jump between tools. The technology has been marketed to the public as “Apple Intelligence.”

Last month OpenAI competitor Perplexity made an unsolicited $34.5 billion offer for Chrome. The remedies ruling by Judge Mehta makes the sale to Perplexity even more unlikely now. In July, the company launched its own web browser called Comet. The pitch by Perplexity is that it offers a personalised experience, connecting users calendars, browsing tabs, and social media channels.

Perplexity launched its own AI-powered web browser called Comet in July. The company is pitching it as a more personalised browser that connects the dots between a user’s calendars, browsing tabs, social channels and more. Serious security concerns in the browser have been identified since.

OpenAI is also said to be set to launch its own web browser in the coming weeks.

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Peter Horgan, former CEO of Omnicom Media Group, has joined independent agency JOY as a co-principal and group CEO across media, performance, creative, brand and fully integrated offers.

“I have had a long history with JOY professionally and personally and I am excited by what we can achieve and build together,” Horgan said of his new role.

“JOY have invested in a truly connected proposition to help maximise client outcomes in a way we can be proud of. I plan to use my profile and experience as an accelerant for JOY , its clients, and its people”.

Simon Rush, co-founder of JOY, shared Horgan’s sentiments and said: “Peter is one of the most successful leaders in the industry having overseen consistent growth built on media transparency and accountability at OMG.

“While we’re not looking to recreate a holdco, we are looking to rapidly accelerate our growth on the back of some key investments, particularly in digital and data capability. We’re particularly excited about the difference he will make for our clients and our people.

“We couldn’t think of a better person to lead our ambitious growth plans than Horgs”.

Horgan’s appointment, commencing 1st Oct 2025 comes on the back of the appointment of Des Odell, Phil Pollock and Matt Keegan, and the winning of Picklebet and Mecca accounts as well as other brand and creative wins.

“It’s a good time to join JOY, for sure” said Rush.

Horgan added: “The agency has added high level capabilities and connections in performance to complement its existing media, creative and brand strengths, making it a serious scale-up opportunity.

“The team has a very ambitious agenda for the agency and its clients, plus a renewed sense of energy and urgency.

“Independents are on the rise, and they’re a whole new challenge for me. I’m looking forward to seeing what a freer, more entrepreneurial model can achieve for clients.”

Top image: Peter Horgan

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Marketers and brands need to move beyond clicks and demographics and embrace cultural fluency as the key to building meaningful relationships, connections, and relevance with their audiences.

Colleen Ryan, Partner at TRA, called cultural fluency a “superpower because it solves the modern marketer’s greatest challenge: genuine connection in an oversaturated media landscape.

“When brands demonstrate authentic cultural understanding, they transcend transactional relationships to build communities,” she told Mediaweek.

Ryan explained that cultural fluency, the adoption of a continued search for global, local, and subcultural shifts that indicate incoming change, involves understanding that trends don’t emerge in isolation.

“A culturally fluent marketer spots underlying currents and knows that they are likely to play out in different ways across different audiences and in the context of their own cultural landscape.

“National cultures mould and shape incoming trends and cultural shifts, and to become culturally fluent, you have to be constantly observing how that process is influencing how the trends are likely to turn up locally.”

Signals and signs that lead to cultural fluency

Ryan said that creating a system for observing, collecting, and curating cultural signals and how they evolve is the first step to identifying and developing cultural shifts before they become mainstream.

“Culture is a dynamic force, so we need always-on methods to monitor the flow and the shifts. A snapshot in time is outdated before we have time to take action resulting from it. And if you are Googling it – it’s already out of date.”

She explained that initial indications come from observing behaviour changes in cultural epicentres such as cities, universities, online communities, outlier groups, and extreme counterculture movements where new ideas emerge first.

“Micro-dosing is an outlier behaviour – why is it growing? What can we learn from it for your category? Veganism was once an extreme outlier, but now we all eat ‘plant-based food’ as part of a wider diet.”

Ryan said that cultural fluency is based on deep analysis of the patterns of signals, which can be innovations of products, services, or business models.

“Signals can be nascent social movements, emergent themes from subgroups and other non-mainstream sources, or marginal behaviours. Signals can come from outlier and fringe groups and innovators, or other worldviews.

“The mistake many marketers make is waiting for concrete validation, by which time the cultural shift is already mainstream. Cultural fluency requires comfort with qualitative signals and pattern recognition.”

Ryan on why demographic segmentation doesn’t cut it

Segmenting audiences by demographics such as age, gender, marital status, income, education, and occupation is no longer seen as a relevant way to connect with audiences.

Ryan said: “We are most definitely living in a post demographic era… Today, we can connect with someone who shares our interest in Victorian stamp collecting within minutes, and we will have far more in common with the people in that group than all the people who are the same age and gender as us.

“People connect through common interests, so tapping into evolving interests is an early access point to the relevant audience. Even generations are not much more than a group of people in the same age group.”

Ryan noted that brands need to learn to navigate communities as they change, adopt identity markers, and resist being defined by certain characteristics.

“[If brands don’t] they will be left behind or worse – risk alienating or simply failing to engage their audience.”

Going beyond authenticity

Meanwhile, Ryan said that brands looking to be authentic in their use of cultural fluency in their campaigns and strategies should “choose their moments carefully and participate meaningfully.”

She highlighted the evolution of Nike’s “Just Do It” campaigns from centring on athletes to addressing systemic inequality.

“This isn’t opportunistic trend-chasing – it’s cultural fluency recognizing that for their core audience, athletic achievement and social justice aren’t separate conversations.

“Cultural fluency requires accepting that you won’t be relevant to every cultural conversation.

“Trying to participate in all cultural movements dilutes authenticity and reveals opportunistic motivations,” Ryan added.

Cultural fluency in action

Ryan explained that culturally fluent marketers spot an emerging trend by noticing similar behavioural patterns and connecting those local observations to broader global cultural currents.

She highlighted the XXXX beer ‘one day only’ campaign from June as an example of cultural fluency and a successful balance of brand heritage with relevance.

The campaign, developed by Thinkerbell and UM, used archival imagery and a few famous faces with the placements live across Brisbane for one day only, to celebrate the brand’s place in cultural moments that shaped Queensland.

Ryan also highlighted Nike’s #1000Victories campaign aimed at inspiring the next generation of female athletes to celebrate their victories on and off the field in what TikTok described as a “world-first TikTok branded documentary.”

“This campaign demonstrated cultural fluency by understanding the shift toward authentic, documentary-style content on TikTok, tapping into the global trend of celebrating women’s sports achievements, creating content specifically “made for TikTok” rather than repurposing traditional advertising.”

@nike Victory is… 🧐 Nike Presents: 1000 Victories – A TikTok Community Story | Part 1 #NikeFC ♬ original sound – Nike

For marketers looking to develop their capabilities in spotting cultural moments, Ryan noted that continually keeping an eye out for signals is a skill that can be refined over time.

She explained: “If you plan to run a marathon next month and have not been running any distance regularly for the past year, you are not going to get past the one-kilometre mark.

“Culture is the same. If you start from zero, the depth of any analysis you carry out will be shallow at best and misleading at worst.

“Why? Because it is not the individual signals so much as the patterns that can be discerned and the changing interconnections of the patterns which give us foresight.’

The key to cultural fluency for Australian and New Zealand brands

In terms of brands in Australia and New Zealand, Ryan noted that they have the unique advantage of developing cultural fluency from the multicultural societies that make up both countries.

She also highlighted that each nation’s geographic position between traditional Western and emerging Asian cultures “creates intimacy advantages”.

“Brands can develop deep cultural relationships without the complexity of massive global markets. This allows for more nuanced, authentic community engagement.

Ryan added: “The region’s cultural creativity, particularly in areas like music, sports, and environmental consciousness, is a natural advantage to both countries.”

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Let’s be real: if you are still optimising campaigns on click-through rates and cost-per-lead alone, you are not managing marketing. You are managing a fantasy.

Clicks don’t pay the bills. Form fills don’t sign contracts. Yet across too many industries, marketers are still making spend decisions based on what happens before the sale, not after it. It’s like thinking you’re successful at dating because you get matches on Hinge, ignoring the fact you’re not having any conversations or going on any dates.

The appeal of clicks is obvious. We all love a dashboard with green arrows pointing up. The problem is that most dashboards stop at the first sign of interest. Once a lead hits the CRM, the marketing data trail often goes cold.

Not all leads are created equal. In property marketing, where Equality Media + Marketing works with some of Australia’s most ambitious developers and builders, we have seen the cost of this blind spot first-hand. Two leads from the same channel at the same cost can have very different outcomes. One might move quickly to contract, the other might never return a call. Without post-click data, you treat them the same, and that means continuing to fund the wrong channels, audiences or creative.

Here’s where the real power lies: when you connect CRM and sales data back to media performance, the picture changes dramatically. You stop optimising for interest and start optimising for impact. You can direct budget to the places where it delivers actual customers, not just curious browsers. And you can make better, faster decisions because you know which tactics are truly paying off.

This shift is not just about better reporting. It’s about becoming a revenue engine rather than a lead factory.

If that sounds obvious, the reality is many marketers are still behind. Sectors like e-commerce have been closing the loop for years. If a product ad is not generating sales, it is paused instantly. But in high-value, long-tail categories like property, professional services or B2B, the marketing-to-sales handover is still treated as a hard stop. Once the lead is in sales’ hands, marketing steps away. That mindset is costly.

The leaders are taking a different approach. The brands ahead of the curve treat the sales journey as one connected process. They track every lead from first click to final transaction, score leads based on their likelihood to convert, and adjust their media spend in response to real revenue data, not just lead volume.

In one property campaign we ran in 2024, this approach overturned assumptions. The channel that looked average on click metrics and drove our second-highest cost-per-lead turned out to deliver a stronger contactable and appointment rate, as well as the highest sale rate, between 2-8x higher than every other source. If we had simply relied on vanity metrics of clicks or even the cost-per-lead, we would have culled this channel early on.

So, how do you make the shift? Start by mapping the customer journey from impression to sale and pinpoint where the data drops off. Integrate your ad platforms, CRM and analytics so the flow of information does not stop at the lead stage. Then, change your scoreboard. Measure cost per sale or revenue per channel rather than cost per lead. If the purchase cycle is longer then measure and optimise to a cost per appointment or cost per quote. And make sure both marketing and sales teams work from the same set of numbers.

The bottom line is simple. Clicks may make us feel good, but conversions keep us in business. If you want your marketing to survive the next budget cut, stop celebrating the top of the funnel and start interrogating the bottom. The brands that can prove every dollar is pulling its weight will not just win more budget, they will win more business. Everything else is just noise.

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A new chapter in Stan’s Revealed documentary series will arrive in October, bringing to screen the story of three sisters who fought for more than a decade to see their former school principal face justice.

Revealed – Surviving Malka Leifer premieres October 5, continuing Stan’s slate of original investigative documentaries.

A story that gripped the nation

The case of Malka Leifer dates back to 2008, when she was working at Adass Israel School, a religious institution in Melbourne, Australia.

Leifer, who once served as the school’s principal, was charged by Victoria Police with 70 counts of sexual offences, based on complaints from at least eight former students.

Before Australian authorities could issue a warrant, Leifer left the country for Israel under contested circumstances. From 2008 until her extradition in January 2021, she remained there while navigating years of legal wrangling, court hearings, and varying restrictions imposed by Israeli police and judicial authorities.

The film follows students, and sisters, Dassi Erlich, Elly Sapper and Nicole Meyer, who spoke publicly about their experiences of abuse at the hands of Leifer.

What began as a personal ordeal grew into an international legal and political fight. Over 15 years, their campaign to have Leifer extradited from Israel drew in prime ministers, premiers and diplomats, while making headlines worldwide.

The documentary tracks that journey – from their first disclosures, through legal obstacles and political standoffs, to the eventual trial in Australia.

This film contains content about child sexual abuse that some viewers may find distressing.

Exclusive access to the sisters

With cameras following them for more than five years, the film captures the sisters’ lives inside and outside the courtroom, highlighting both their persistence and the toll of reliving trauma in public.

The documentary also examines the sting operation that exposed Leifer’s attempts to avoid extradition, and the broader costs survivors often face when pursuing justice.

Dassi, Elly and Nicole said: “We agreed to this film, unfiltered and unguarded, because WE believe truth demands change. We hope people understand why this fight mattered and why it still does. YOU have the right to speak. To feel. To be believed. To take up space.”

The team behind the film

The documentary is directed by Adam Kamien and produced by Ivan O’Mahoney, whose credits include the Logie-winning Unbreakable: The Jelena Dokic Story. Edwina Waddy co-produces, with executive production by Joel Pearlman for Roadshow Films and by Cailah Scobie and Alicia Brown for Stan.

Fremantle’s Mandy Chang also serves as executive producer, with Fremantle managing international distribution.

The project was backed by Screen Australia in association with Stan, with additional support from VicScreen, Screen NSW, and philanthropic contributions via Documentary Australia.

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At a time when cultural debates often collapse into shouting matches, a new entrant is betting that Australians are hungry for something more thoughtful.

Thinkable, a live events platform founded by entrepreneur Desh Amila, is launching locally with a focus on evidence-based dialogue – and early ticket sales suggest the gamble is paying off.

The debut program brings two heavyweight international names to the stage: Harvard cognitive scientist Steven Pinker and economist Gary Stevenson.

For Amila, the timing isn’t accidental. He argues that Australia is at a crossroads, as polarising rhetoric from the United States increasingly shapes the cultural landscape.

“We can either passively import that polarisation, or we can actively build a counter-narrative,” he told Mediaweek. “Launching Thinkable is my way of doing my part to change the tide – to provide a space that champions reason, evidence-based discussion, and intellectual humility as an antidote to the noise.”

Big names on debut

Thinkable will open its series in February 2026 with Pinker’s first-ever Australian speaking tour.

For Amila, starting with Pinker is a deliberate choice, positioning the platform alongside voices that emphasise evidence, expertise, and rational debate. “Steven Pinker is a foundational voice for our mission,” he said.

Stevenson will follow with his own debut Australian tour later in the year, with tickets set to go on sale in September.

Amila sees the pairing as complementary: “Gary Stevenson, on the other hand, shows us why that thinking is so critical in the real world.” Together, the two speakers signal Thinkable’s ambition to stage conversations that travel beyond the lecture hall and into the public square.

A focus on ideas and dialogue

What sets Thinkable apart, Amila said, is a commitment to “unfiltered” conversation. Rather than scripted lectures, events will be built around dynamic dialogue, with hosts asking probing questions and pushing discussions into unscripted territory.

“Each speaker will engage with a skilled interlocutor who acts as the voice of the audience,” Amila explained. “Their job is to ask the challenging questions, to probe for clarity, and to facilitate a conversation that is dynamic, responsive, and spontaneous.”

This format, he believes, is central to countering an era of “post-truth.” It’s about showing that expertise and rationality still matter, while making the exchange accessible enough to draw in broad audiences.

Building on past experience

Thinkable is not Amila’s first foray into this world.

More than a decade ago he founded Think Inc., the touring company that brought Neil deGrasse Tyson, Jane Goodall, and Richard Dawkins to Australian stages. That early work demonstrated that there was, in fact, a market for events centred on ideas.

This time, the ambition stretches further. “Cultural impact is our ultimate ‘why’,” Amila said. “Are we starting conversations that continue long after the event ends? Are we equipping people with new ways to think?”

The goal, he added, is for Thinkable to earn trust as a brand in its own right – so that eventually audiences will come not just for a well-known name but for the guarantee of a challenging, worthwhile evening.

“Success will look like this: a diverse calendar of events in every major city, featuring a mix of the world’s most renowned thinkers alongside Australia’s brightest minds,” he said.

Looking ahead

Amila is pragmatic about what’s required to make that vision sustainable. Reach, cultural impact, and revenue must all work in tandem if the platform is to thrive.

His five-year goal is clear: for Thinkable to be a household name for anyone with intellectual curiosity, and to grow into a cultural institution where new voices can stand alongside global leaders.

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McDonald’s Australia has launched the 2025 edition of its Monopoly promotion and for the first time, gameplay is exclusively digital, accessible only via the MyMacca’s app, replacing the long-running system of physical tickets on packaging.

Prizes this year include a 2025 Isuzu MU-X SUV, $52,000 towards rent or mortgage, a year of free Uber rides and Uber Eats, free Macca’s for a year, a $10,000 Amazon gift card, and millions of Macca’s food items.

The campaign creative was developed by Wieden+Kennedy Sydney, which reimagined Mr. Monopoly as a “grindset” influencer encouraging players to “play like a winner.”

The work spans 18 film executions directed by Stefan Hunt, alongside social, OOH, and branded content.

OMD is leading media, with activity including a Sunrise news cross on Seven, integrations with Carrie & Tommy on SCA radio, podcast partnerships with Toni & Ryan, and a content collaboration with Pedestrian.

The digital game is powered by iWin, with Akcelo designing the new app experience featuring achievements and daily bonus prizes.

Digitas is leading personalised CRM, while Creata manages prize partnerships and fulfilment.

To play, customers purchase an eligible item and link it to their MyMacca’s app for instant digital tickets.

Mary Vrancic, Senior Director of Marketing at McDonald’s Australia, said: “This year’s Monopoly at Macca’s is more than just a game — it’s a fully reimagined experience designed to surprise, delight, and reward our customers every time they play.

“With a 1 in 3 chance to win, guaranteed daily prizes, and a seamless ticketless journey in the MyMacca’s app, we’re making it easier than ever to win. It’s all about creating everyday moments of joy and engagement, whether you’re a loyal fan or trying Monopoly for the first time.”

CREDITS

Client: McDonald’s Australia
Creative Agency: Wieden+Kennedy Sydney
Media: OMD Sydney
CRM: Digitas AU
Digital Experience & Restaurant Experience: Akcelo
iWin digital gameplay mechanics & prize platform: tms
DCO: Adylic, Smartly, INNOVID & Flashtalking
Prize Partnerships and Fulfilment: Creata
PR & Influencer: Mango Communications

Director: Stefan Hunt
Production Company – Film: Exit Films
Animation: Electric Theatre Collective
Visual Post: The Editors
Audio Post: Sonar Music

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In-house agency consultancy -lution has partnered with Talent Run to launch -lution Recruitment, a new arm dedicated to sourcing creative, production, and media talent for internal marketing teams.

The practice builds on -lution’s work creating in-house teams for brands including 7-Eleven, Honda, MYOB and Treasury Wine Estates.

It is already working with 7-Eleven to establish an internal creative function and is supporting roles across banking, retail, and FMCG.

Nick Thomas, Partner at -lution, said: “This is a natural evolution for -lution. We’ve been helping clients build in-house teams for years, and increasingly, they’ve asked us to help find the right talent too.

“Internal recruitment teams are often strong on general capability but less equipped to assess creative or media skills. That’s where we offer a different perspective and deeper level of expertise, building on our knowledge of how the best in-house agencies function.

“To do this well takes specific experience, which is why we began working with Amy. She’s the go-to recruiter for creative and production talent, has already been supporting some of our client partners, and brings a level of insight the industry trusts.”

The division is led in partnership with Talent Run founder Amy Lee, who has more than 15 years of agency account service experience at George Patts, Ogilvy and Big Red, and seven years as Victorian state manager at Advertising Council Australia.

Since founding Talent Run, Lee has specialised in creative, strategy, account service and production recruitment for both in-house and external agencies.

Lee said: “The best in-house teams are built around people who bring not just skills, but energy and empathy. That’s always been Talent Run’s sweet spot.

“What excites me about working with -lution is their deep understanding of how in-house agencies operate – the structure, the culture, the pace and the pressure. Together, we can shape teams that are ready from day one.”

The launch adds to -lution’s advisory model, which also includes martech and media consulting. Talent Run will continue to operate independently in recruiting for external agencies.

Top image: Amy Lee and Nick Thomas

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Chrissie Swan has been announced as the host of a reimagined version of iconic Australian lifestyle show Healthy, Wealthy & Wise, set to premiere later this month on the Seven Network and 7plus.

First airing in the early 1990s, the original program was a staple of Australian TV, blending lifestyle advice with practical content across food, finance, health, travel and home. The new iteration, produced by WTFN Entertainment, promises to retain much of the original spirit while bringing a contemporary spin to the format.

Swan said the decision to come on board was an easy one. “When I got the call, it took me all of five seconds to say yes! I was a huge fan of the show back in the nineties and as an obsessive home cook, renovator and lover of helpful home hacks, I was born for this role.”

The refreshed version will feature a new cast of expert presenters, handpicked from Australia’s top content creators. The show will combine studio-based segments with on-location stories filmed across the country, aimed at delivering useful, feel-good information to viewers.

Steve Oemcke, Chief Creative Officer at WTFN, said: “It’s a privilege to bring this much-loved format back to the small screen and I’m sure a whole new generation of Australians will delight in its inspiring content.”

“Chrissie brings a unique blend of humour, heart and relatability to everything she does. Her unmistakable authenticity and genuine connection with audiences makes her a natural choice to lead this exciting reboot of a household favourite.”

The reboot adds to WTFN’s portfolio of factual and lifestyle hits, which includes The Living Room, Bondi Vet, Paramedics and Code 1: Minute By Minute.

Healthy, Wealthy & Wise will premiere on Seven and 7plus later this month.

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Snapchat has launched the App Power Pack, a suite of new products and optimisations designed to help app marketers drive installs and engagement.

The package integrates into existing campaigns with no additional setup and supports both SKAdNetwork (SKAN) and non-SKAN campaigns. Early results show products within the suite delivering at least a 25% lift in app installs.

Among the key features is Target Cost Bidding (tCPA), which allows advertisers to set target CPAs while Snap’s system dynamically optimises delivery.

Sponsored Snaps is also now available in the auction, which enables advertisers to drive downloads directly from Chat. Sponsored Snaps are Snapchat’s first ad format within the Chat inbox and are delivering an 18% lift in unique converters.

The suite also includes App End Cards which add extra visuals from the App Store to Snap Ads and Story Ads, giving users a more detailed app preview.

Rounding out the new launches is Playables (alpha), a mini versions of mobile games that allow users to trial gameplay before downloading.

Additional non-SKAN features include new reporting tools such as App Acquisition Conversion Metrics and Snapchat Outcomes.

The platform noted that the App Power Pack is designed to support advertisers across categories including gaming, retail, and financial services, with further updates to roll out in the coming months.

Ryan Ferguson, Managing Director of Snap inc., ANZ said: “At Snap, we’re constantly evolving to meet the needs of marketers.

“The App Power Pack delivers a suite of solutions, from improved bidding to engaging new ad experiences like Sponsored Snaps, which reaches users directly in the Chat inbox, and Playables – all designed to drive campaign performance and expand their reach with our engaged community of over 8 million Australian Snapchatters.”

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Specsavers has launched its first Australian 3D digital out-of-home (3DOOH) campaign in collaboration with QMS, showcasing the exclusive Elton John Eyewear collection with a full motion billboard execution at Emporium Melbourne.

Running throughout September, the creative leverages Elton John’s iconic flair through dynamic 3D visuals and day-night transitions. It’s the latest evolution of a year-long partnership between Specsavers and QMS, with the eyewear campaign deployed on the 455-square-metre billboard that attracts over 18 million visits annually.

Developed by Specsavers Creative in the UK and brought to life locally by the ANZ marketing team in partnership with EssenceMediacom and QMS’ in-house studio QUBE, the campaign aims to create maximum visual impact in Melbourne’s high-traffic retail precinct.

Alex Kerley, Chief Revenue Officer at QMS, said the project was a standout example of creative collaboration: “The new 3DOOH ad for Specsavers is a fantastic example of what happens when a brand, agency and media owner collaborate from the outset. The result being an iconic piece of creative that captures attention by both day and night.”

Anri McHugh, Head of Marketing Awareness and Consideration ANZ at Specsavers, added: “Designed and named by Elton himself, the exclusive Elton John Eyewear collection reflects the music legend’s love of self-expression. Naturally we needed our DOOH placement to make an entrance and impact just like Elton himself.”

Specsavers joins a growing list of brands, including L’Oréal Kérastase, Mazda, Stan and Asahi, who have utilised the landmark Emporium site for high-impact campaigns.

Top image: Elton John Eyewear 3DOOH campaign at Emporium Melbourne

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The Company We Keep (The CWK) has expanded its Asia-Pacific team with five new hires in Singapore, as the experiential marketing agency responds to increased demand across the region.

Part of global experiential group Opus Agency, The CWK now counts 13 team members in Singapore and more than 100 across the broader APAC region, including offices in Australia and New Zealand.

The new hires span creative, production, digital and account management roles, supporting a growing client portfolio and expanded briefs from existing partners including Salesforce, UBS and RedHat.

Since opening its Singapore hub in February 2023, The CWK has delivered regional experiences across the Philippines, Indonesia, Malaysia, Thailand, Greater China and India. Notable projects include the Salesforce Agentforce World Tour and the UBS Asian Investment Conference Singapore Wealth Edition.

Victor Darmawan, Business Director APAC, said the agency’s growth reflects a wider trend: “Since launching in Singapore, we’ve seen first-hand how clients are doubling down on experiences to grow their brands across Asia. Clients are looking for partners who can move fast, adapt to different markets and bring global best practice to local audiences—and that’s exactly what our expanded team allows us to do.”

The growth follows The CWK’s integration into Opus Agency earlier this year, part of The Opus Group, which brings together global scale and local expertise to deliver end-to-end experiential solutions.

Nigel Ruffell, EVP APAC, added: “APAC has fast become one of the most exciting growth regions for our clients and Singapore has already proven to be the right base to serve them. Our people-first approach, and the reputation our local team has built in the market, are what drive the strong relationships and creative solutions our clients trust us for.”

He said the backing of Opus Agency and The Opus Group enables the business to “accelerate our footprint and deliver world-class experiences at greater scale.”

The Singapore expansion is complemented by continued hiring in Sydney, as The CWK aims to strengthen its ability to deliver large-scale, integrated experiences for brands across APAC.

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Mortgage Choice has launched a new brand campaign ahead of the spring property season, created with Sydney agency Brand+Story.

The campaign centres on Mortgage Choice brokers, highlighting the value they bring through access to more than 35 lenders and a network of over 1,100 brokers. It also integrates property expertise from realestate.com.au.

REA Group Executive Manager Consumer Marketing, Chris Reeves said the new campaign is designed to demonstrate the strength and scale of the brand.

Reeves said: “This timely campaign draws on Mortgage Choice’s strong position in market as we help more Australians throughout their home buying journey.

“Spring is the peak time to buy and sell property, and buyers can make this a more seamless experience with an expert broker by their side.

“We are leaning into our greatest asset with the choice to hero the people behind the loan, with authentic voices from our network of brokers at the heart of our new TVC.”

The campaign, launching nationally this week, includes a TVC shot using the world’s largest LED Volume screen, with brokers explaining what “more” means for customers.

Brand+Story Strategy Partner, Paul Chappell, added: “Having worked alongside Mortgage Choice for a few years, we understand that a key differentiator for Australians looking for a home loan is to find a broker who is there for the life of a loan.

“It’s not about one-off transactions, it’s about building long-term, transformative relationships.”

Brand+Story Creative Partner, Josh Whiteman, added: “We developed ‘more’ as a campaign idea that expressed the simplicity of Mortgage Choice’s offer.

“More choice, more experience, more care and more local. The word ‘more’ summed it up perfectly. It’s the headline, the offer, the promise and the experience of the Mortgage Choice brand.”

The rollout spans TV, BVOD, digital video, outdoor, radio, social and display.

Credits
Strategy and creative: Brand+Story
Production: Elastic
Media agency: Kaimera

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