There’s a new player on the advisory scene, and it’s not business as usual.

The Meliora Company, launched by industry veteran Clive Dickens, is setting out to redefine how companies across IT, telecommunications, and media-entertainment sectors embed AI into their operations.

Instead of offering generic roadmaps and off-the-shelf strategies, Meliora wants to dig into the messy middle, where ambition meets execution.

The firm is built around a lean, cross-continental team of approximately 10 specialists, spread across Sydney, London, and Los Angeles, covering the APAC, EMEA, and the Americas.

It’s a model designed for flexibility over formality, aiming to move fast and build AI capability from the inside out.

Dickens, whose past chapters include senior roles at Optus, Seven West Media and Shazam, isn’t interested in traditional consultancy thinking.

With Meliora, he’s pitching a different kind of support, one that’s hands-on, commercially grounded, and wired for the rapid pace of tech evolution.

Whether it’s helping telcos rewire their customer experience or supporting entertainment businesses through AI-powered content and workflow shifts, the promise is clear: strategic clarity and practical momentum, not just decks and diagnostics.

A return to roots in a new AI era

“After 12 years in Australia working across SCA, Channel Seven, and Optus, I’m returning to something that feels very familiar,” said Dickens.

“Before moving here, I had my own business with partners, and Meliora is a return to that entrepreneurial model, but now operating across multiple regions and with a clear focus on where the real opportunity lies.”

That opportunity, he says, stems from a moment of seismic technological change.

“We haven’t seen a shift like this since the arrival of the iPhone in 2007. The proliferation of GenAI apps since late 2022 has triggered a new kind of industrial revolution. The pace of change is profound.”

Dickens describes the new advisory as being built for optimism in the face of AI uncertainty.

“There’s so much noise about AI replacing jobs or becoming dangerous, but you’ve got to be relentlessly optimistic. Just like the car replaced the horse and reshaped economies, AI will reshape ours, but only if we act on it, not fear it.”

Why Meliora thinks it’s different

At its core, Meliora is practitioner-led. That phrase gets thrown around often, but Dickens insists it’s more than branding.

“A lot of consultancies lack recent, real-world experience. We’ve been at the coalface. We’ve procured the hardware, worked with the engineers, reviewed the code. That hands-on experience is essential when advising companies trying to modernise legacy systems,” he said.

The company has structured itself around three pillars: product development, talent advisory, and a Ventures and Creative IP Fund aimed at surfacing new ideas and creators within the TMT (technology, media, telco) space.

“Efficiency is important, sure. But growth is the goal,” said Dickens. “We want to help clients build AI products that improve the customer experience, drive better returns, and create more meaningful internal processes.”

Deep tech, not surface gloss

Meliora’s working philosophy includes what Dickens calls ‘Level Three curiosity.’

“It means going beyond the PowerPoint layer. You’ve got to be willing to get your hands dirty. When I was at Optus, I walked the data centres to inspect the infrastructure I was responsible for. That curiosity is essential if we’re serious about solving the problems businesses actually face,” he said.

Often, the biggest roadblock to AI enablement isn’t the AI itself, it’s the old tech stack.

“You’ve got to help businesses get off legacy platforms and into native cloud environments before they can really benefit from new AI tools,” he said.

“Too many firms burn budget and staff energy on proof-of-concepts that go nowhere. We’re here to cut through that and deliver real outcomes.”

Rethinking the advertising playbook

There is, of course, a natural question about where Meliora fits in the advertising value chain, particularly with GenAI being used across planning, sales, creative and attribution.

Dickens, however, sees a market suffering from fragmentation fatigue.

“The digital video layer, BVOD, AVOD, FAST, SVOD, it’s all growing, but buyers are increasingly confused. The beauty of services like Netflix joining OzTAM is that they’re acknowledging the value of a common currency. Standardisation builds trust. Even the most innovative companies can’t ignore that.”

Meliora, he says, will support ad businesses in bridging the gap between AI capability and campaign delivery.

“It’s not about making everything AI. It’s about making AI work within established environments. For marketers, it means tools that genuinely help with planning, brand safety, targeting and reporting. For media owners, it means smarter product development that builds on what works, not just chasing what’s new.”

Global by design, local by nature

Launching with teams in Sydney, London and Los Angeles wasn’t just symbolic. It reflects where Dickens sees real momentum.

“TMT is a global sector, but transformation needs to reflect local market dynamics. Our team is small but senior. Every partner is deeply embedded in the industry they support. This isn’t a fly-in, fly-out model.”

Meliora has already begun partnering with clients across each region. Initial focus areas include helping broadcasters modernise internal workflows, telcos streamline customer experience using AI, and digital businesses explore growth products that scale beyond efficiency.

Looking ahead: what success means

Dickens is quick to downplay early hype.

“Year one for us is about building credibility and proving outcomes. Revenue matters, sure, but so does impact. We want to be known as the team that does the hard work, delivers value, and helps companies navigate this AI era with clarity.”

He quotes a recent comment from a stakeholder in London as a guiding north star: “They said, ‘Clive, sounds like you’re working with people you want to work with, doing things you want to do, in places you want to be.’ That really stuck with me. That’s what success looks like.”

For Australia’s media and marketing industries, the launch of Meliora adds a new type of partner to the table, one grounded in optimism, shaped by frontline experience, and committed to helping companies do more than just talk about transformation.

As Dickens puts it: “AI is the next significant technological advancement. But it’s only useful if we move beyond theory and start building. That’s what we’re here to do.”

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Emotive is looking at the end of its creative agency tenure with Optus with gratitude and pride, after announcing the appointments of Accenture Song Media and Droga5 as its new media and creative agencies, respectively.

The telecommunications company was the first client of Emotive and released the iconic Ricky Gervais anti-ad to promote a Netflix package in 2015.

Simon Joyce, CEO and founder of Emotive, reflected on the agency’s journey with Optus. He told Mediaweek: “Like any startup, you need a hell of a lot of drive and belief, and a little bit of luck. They (Optus) were there at the right time and have been with us on the entire journey.

Simon Joyce

“We grew together, we learned a lot together. The shape of the agency evolved not just the market’s needs, but through their needs as well.”

“There’s a stat out there that only 5% of indie agencies survive on their own past 10 years, and we’ve passed that and we’re thriving despite moving on here.

“Whilst we are moving on, the relationship remains as strong as ever so and I feel nothing but gratitude. There’s nothing bitter about this whatsoever.”

Emotive has seen a few agencies manage the media account during its time with Optus. UM initially won the account from Starcom in 2016 and held the telco’s account for the past eight years. The IPG media agency defended the account when it was up for pitch in 2019.

Joyce said: “As an indie creative agency, 10 years on a telco is rare. And when you spend that much time together, and they’re obviously a large client, they have a big influence on how you evolve and operate as a business.”

Impact on Emotive business

Joyce noted that Optus’ exit from Emotive’s portfolio will have “minimal change” to the agency’s headcount.

“There will be a few wrapping up who will be really missed but we’ve had several recent new client wins which is timely”

“We’ve got a pretty big announcement next week in terms of the next chapter of this business. We’ve had great momentum and a great couple of years.”

‘That saying is true, feedback is a gift’

Reflecting on the creative account’s change of hands, Joyce said: “Any pitch you don’t win, you reflect on. That’s the nature of this game.

“We were down to the last few, there’s always going to be learnings there and that saying is true, feedback is a gift. We’ll only get better from this,” he said.

Joyce added: “I look back at any moment when you don’t get the result you were after and think ‘hey, how can we do it better?’ I’m really comfortable to say that, you need to be relentless as a leader to keep getting better.

“We’ve done some incredible work together over the years, and Cam Luby and I are as close as ever,” he said of his relationship with Optus’ Head of Marketing.

Joyce noted the Ricky Gervais ads as highlights and more recently the No Catch campaign.

“It was product as an expression of brand. We had two really unexpected talent there with Delta and Jason Donovan.

“That is a really fun product campaign and bought back that challenger tone that has always been part of the Optus DNA.”

Optus’ new media and creative agencies

Earlier today, Optus announced the appointment Accenture Song Media and Droga5 as its new media and creative agencies, respectively, as UM Australia confirmed it was dropped by the telecom company.

Apparent was also named as specialist B2B creative partner for the telecom company, while production incumbent BRX remains production partner under an expanded scope.

Cam Luby, Head of Marketing, Optus, said: “As the way people live, work and connect evolves, we’ve chosen partners who truly understand our industry and bring future-fit capabilities we need to stay ahead — especially in AI, automation, and data-led storytelling.

“With the right blend of creativity and technology across our new agency panel, we’re excited about the opportunities ahead. This new lineup brings together unmatched firepower to help us drive more integrated, effective, and future-ready marketing.”

The new structure brings two agencies under the Accenture umbrella, spanning both media and creative.

Optus launched a review its media account as part of its procurement process in October last year.

Top image: Simon Joyce

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WPP Media has launched Open Intelligence, a next-gen solution and Large Marketing Model that is built to drive real business outcomes and fuel faster, smarter marketing performance for the AI era.

Open Intelligence has been trained to understand and predict audience behaviour and marketing performance based on patterns derived from real-time data about how people engage with content, brands, platforms, and products.

It’s model learns continuously from trillions of signals across more than 350 partners in over 75 markets to help brands reach up to 5 billion adults globally, with relevance, speed, and precision.

Open Intelligence provides an alternative to increasingly limited ID-based targeting, unlocking Intelligence Beyond Identity for its clients: a multimodal, privacy-by-default approach that uses real-world commercial, geographic, cultural, and behavioural signals – as well as identity data – to find and engage high-intent audiences.

For marketers, benefits of the custom AI models that allows clients to train bespoke marketing models with their own first-party data to cater to their unique goals, audiences, and markets, predictive intelligence that helps brands move from reactive to real-time, better audience segmentation and media precision that reduces spend inefficiencies and always-on optimisation improves campaign performance over time.

Additional benefits include models that inform seamless activation across every channel and platform and Open Intelligence’s integration into its end-to-end media delivery platform inside WPP Open, that ensures all tools, teams, and workflows are powered by AI.

The launch of Open Intelligence is also support by technology, data and measurement, and digital platform partners such as Google, Microsoft Advertising, FreeWheel, Experian, Circana, Adelaide, Lumen Research, Adstra, Snap Inc. and TikTok.

Tom Braybrook, MD of Choreograph Australia & New Zealand, said: “Open Intelligence represents a fundamental shift in how we think about what’s possible when it comes to data and marketing. For our Australian clients, we’ve seen rapid adoption of composable data architectures and a strong preference towards zero movement of data.

“Unlike traditional data matching and identity solutions, Open Intelligence enables marketers to secure insights across diverse datasets without moving or exposing the raw data, using InfoSum’s patented technology.

“I’m excited to be bringing this capability into the Australian market, collaborating with our global business to roll out WPP Media’s Open Intelligence platform for our local clients in Australia & New Zealand.

“Most importantly, Open Intelligence will enable brands to move beyond reactive strategies and optimise media, creative, and targeting by using AI to reveal hidden relationships in consumer behaviour.”

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It’s the case that’s captivated the nation: a mystery laced with family tragedy, forensic intrigue, and one of the most bizarre alleged murder weapons in Australian legal history: a homemade beef Wellington.

Today, Erin Patterson returns to the stand in her triple-murder trial at the Supreme Court in Morwell, Victoria.

The 49-year-old is accused of serving a dish laced with deadly death cap mushrooms to her former in-laws and another relative, three of whom later died.

The trial’s twists and turns have dominated headlines across Australia and overseas.

But while most of the focus is on courtroom drama, there’s another story playing out just a few doors down,  in the overflow room packed with journalists, court sketch artists, and broadcast producers, all trying to faithfully bring each development to the public.

Among them is Herald Sun reporter and host of News Corp Australia’s The Mushroom Cook podcast, Brooke Grebert-Craig, whose daily grind balancing live court coverage, podcast production, social videos, and print deadlines offers a rare glimpse into the relentless reality of covering a case like this.

The rotating seat system and the buzz of overflow

Each day, six media spots are allocated within the courtroom, and who gets in rotates.

“One day it might be the Herald Sun, the next it could be The Age,” Grebert-Craig told Mediaweek. “My colleague, Laura Placella,  who’s our court reporter, and I usually switch depending on what’s happening. We prioritise her being in the courtroom while I’m in the overflow room.”

The overflow room, located on the same level as Courtroom Four, has become the nerve centre for most journalists covering the trial.

“It’s just a few doors down, so you can go back and forth,” she says. “Inside, we’ve got chargers, you can eat, and while it’s still court, it’s a little more relaxed.”

Relaxed doesn’t mean empty. On a typical day before Patterson took the stand, there were around 15 journalists in overflow. But as interest surged this week, Grebert-Craig says that number has at least doubled.

“We’re seeing more international media now, the BBC, and foreign correspondents. They were there yesterday. It’s a solid setup.”

Closer, clearer, and still strictly by the book

The courtroom overflow has its perks, including a clearer view of crucial exhibits.

“There’s a big screen so we can see everything happening in court,” she explains. “When exhibits go up, photos, text exchanges, that sort of thing, we can get a closer look than in the courtroom. We’re allowed to walk up quickly, take notes, and jot down the finer details.”

The court rules still apply: no phones, no photos, and no recordings. But being able to move freely, even within strict limits, makes a huge difference in covering fast-paced evidence.

“It’s like a standard regional courtroom setup, probably about 40 to 50 seats, five rows,” she adds. “There are charging docks and a few tables, but most of the time we’re just using notebooks or laptops on our laps.”

The physical setup may be basic, but the atmosphere is anything but cold.

“There’s a strong sense of camaraderie,” Grebert-Craig says. “Even though we’re all from different outlets, people share notes at the end of the day. We’re all here for the same reason, and that mutual support only helps everyone.”

Podcasting under pressure

For Grebert-Craig, the story isn’t just being written, it’s also being recorded.

Each evening after court, she heads back into the makeshift studio to record The Mushroom Cook, which has become one of the country’s most talked-about true crime pods.

And the audience numbers back it up.

Since launching, the podcast has pulled in 2.3 million downloads in Australia, 450,000 in the UK, 240,000 in New Zealand, and 135,000 in the US.

It’s a striking measure of just how far this Victorian courtroom drama has reached,  and how hungry audiences are for detailed, day-by-day insights into the case.

“After court ends, around 4 or 4:30, I film a social video, send it to the team, and then we shift gears into writing the print story,” she says. “After that, we record the podcast. That can take 45 minutes to an hour to record, even though the final episode is usually 10 to 15 minutes. Sometimes there’s a lot to talk through, and we have to make sure everything is accurate and strictly reflects what was said in front of the jury.”

The final product is reviewed by legal before going live on Spotify and Apple Podcasts, often around 10pm.

Live blogs, lunch runs and courtroom pacing

Covering a trial like this isn’t a 9-to-5 gig. It’s more like a daily marathon… albeit with multiple sprints in between.

“Court kicks off at 10:30am each day, but we usually head in around 10,” she explains. “We’re in court for about six hours, and during that time, we live blog, which is pretty full-on. We’re constantly keeping our Herald Sun audience updated.”

While live blogging, Grebert-Craig is also planning podcast episodes, scribbling down key details, figuring out the lead, thinking about what might work as a cold open.

“By around 3pm, I start scripting a video we run on socials and embed into our stories,” she says. “Then we record the pod, get legal approval, and finally get to call it a day.”

Morwell’s media melting pot

While the courtroom is where the official drama unfolds, there’s a strange intimacy to the day-to-day life around Morwell.

“It’s a really small town, there are only about two cafes within walking distance of the courthouse,” says Grebert-Craig. “During lunch breaks, everyone congregates in the same spots. You’re seeing defence barristers, the prosecution team, even witnesses and jurors around the area.”

It makes for strange moments and complex ethical lines.

“The other day I was waiting for a coffee and standing right next to Ian Wilkinson who survived the lunch,” she recalls.

“As a journalist, you wonder if you should say something. But then you remember: three people died. He’s still grieving. He’s been in court every day. Out of respect, I just let him be.”

Cold mornings, long queues and a public watching closely

It’s not just the media who’ve been turning up in greater numbers. Members of the public are lining up earlier and earlier, sometimes well before sunrise, just for the chance to get a courtroom seat.

“People are arriving at 6am to line up, even though the doors don’t open until 9am,” Grebert-Craig says. “So they’re waiting up to three hours in the cold. And it is cold in Victoria right now, freezing, actually, like five degrees in the morning.”

Once inside, there’s more queuing: through security, up two flights of stairs, and then another line for Courtroom Four itself.

“There’s definitely a bit of a process,” she adds.

Keeping it together through it all

For Grebert-Craig, the emotional toll of covering such a harrowing case hasn’t gone unnoticed. But there’s a professionalism that grounds everything she does.

“Personally, I think I’ve been doing okay,” she says. “Everyone in my life understands we can only report on what’s been said before the jury, so no one really pushes me for anything more than that.”

As Erin Patterson continues giving evidence,  and public interest continues to build, the journalists in Morwell will keep doing what they do best: show up, take notes, and tell the story as accurately and clearly as possible.

And for Grebert-Craig, that means another night of scripting, recording, and filing, long after the courtroom doors have closed.

The Mushroom Cook is spearheaded by Herald Sun reporter Brooke Grebert-Craig, court reporter Laura Placella and Gold Walkley-winning reporter Anthony Dowsley.

The podcast is available on Spotify, Apple Podcasts, and other major platforms.

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“I want to work with brands specifically on the influencer marketing side of the business,” she tells Mediaweek. “Especially mid-sized brands that are successful but don’t necessarily want to invest in a full-on agency.

“I match brands with the right influencer, or influencers – and not just the ones I work with – based on their campaign. I strategise how to integrate the brand messaging and creative into the digital creators’ organic content, and then I execute.

“I do all the communication on behalf of the brand with the influencer, and I think that’s often the missing link.”

‘I know how to protect brand messaging and give creative freedom to talent’

But what can Zakharia actually offer that other agencies can’t?

She’s very clear on that.

“I know how to protect brand messaging and I know how to give creative freedom to talent too.

“Before I arrived in Australia, I incorporated brands into music projects in Jordan, and I’ve worked with McDonald’s and Toyota.

“When I came here, I had to start from scratch and so I built on my knowledge to build integrations really successfully into Abbie (Chatfield’s) content.

“Abbie’s got brands coming on the podcast and I had to be the creative gatekeeper and try to find concepts and ways of integrating the brand content into a way that worked for her and the client.

“Plus, I get so excited when I see a brief,” Zakharia said. “I love doing a visual strategy, the brand deck, and then the creative strategy. Then I love finding the right people to make it all happen.”

“Communication and trust is key. Communicating ideas and making sure the brand’s needs and directives are met but also that the talent’s creativity is protected means success.”

So, how does she prove she can do that outside of her work with Chatfield? Two words: Kayla Jade.

Operating under the handle @blueeyedkaylajade, Kayla Jade has cultivated a significant social media presence by engaging both male and female audiences through her distinctive content and authentic storytelling.

Her candid narratives, shared across platforms like TikTok and Instagram, delve into her experiences as a sex worker, offering insights that resonate with a broad audience. This approach has garnered her a substantial following, with over 2 million followers on TikTok and more than 275,000 on Instagram and a new podcast, Story Time with Kayla Jade. 

Reports of products Kayla promotes selling-out are rife across the media. One client, Georgia Geminder, the founder of Gem deodorant, took to the company’s TikTok account following the product’s viral success to confirm they were working hard to replenish stock.

Geminder told news.com.au, “Blue Eyed Kayla Jade has made our small business go completely viral! Over four days, we’ve sold out nationwide, with one product being sold every three seconds.”

Zakharia admits it’s been a wild ride, but “as her manager, I’m very protective over her and the authenticity of her platform,” she says.

“The campaigns with brands we’ve been doing have been successful – and that very first conversation with a brand is key. I set the expectation from the beginning that Kayla’s the creative expert of her own work and the brand is the expert in the product, and we can weave it within her storyline but not the other way around.”

A focus on neurodivergency

With the global success Kayla Jade’s been enjoying, it’s clear Zakharia will be popular with influencers, hoping they can steer a similar career path, but Zakharia is determined to keep it deliberately boutique, having just two clients at the moment Kayla and Mitchell Coombs.

“I will manage a tight roster of talent and I’m especially interested working with talent who are neurodivergent

“There are heaps of talent who are neurodiverse and highly, highly creative. Obviously Abbie is ADHD, and while I’m not managing her, I have been her producer so it’s knowing how to communicate, motivate, understand and empathise with what she’s going through.

“Burnout becomes a real thing, and I’ve seen it firsthand. With Abbie, knowing how to prioritise information and how to really understand the importance of giving her a break means she ends up being even more productive.

“I have a background in psychology and family with autism and Kayla is ADHD so I’m surrounded by people with spicy brains. Bringing out the best in neurodivergent people is a skill-set I’ve developed over time.”

‘This is a woman having such an impact on other women’

This meant she was perfect to work with Kayla who was manager-free when Zakharia first met her.

“She was on Abbie’s podcast as a guest and I really admired her work.

“I also saw how incredibly well that episode did, and I could see this is a woman who’s having such an impact on other women. Initially I thought the majority of her followers were men because she’s a sex worker, but actually it’s like 95% women following her, and that that got me very interested in what she’s doing.

“I asked her who was managing her and she said no-one. But she’s very similar to Abbie and has a real gut instinct when it comes to people. I think she’s had a lot of offers from management companies, but when I chatted to her and what I can offer she just said, ‘Let’s go, girl’.”

Zakharia’s launch of Bedou comes at a time when brands have to reassess the value of influencer partnerships, seeking more strategic alignment between message, medium, and messenger.

By positioning Bedou as both a management agency and a creative consultancy, Zakharia is aiming to tap into a growing demand for hybrid models that can deliver both talent access and campaign integration.

For brands navigating an increasingly fragmented digital landscape, that focus may prove effective.

With Bedou, Zakharia is aiming to bridge a recognised gap in the influencer economy: the need for unique trusted voices, like Chatfield and Kayla Jade, who understand both sides of the equation, and can translate that understanding into success.

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More than half of Australian marketing leaders report low levels of trust in retail media networks, according to the latest Digital, Marketing & eComm in Focus 2025 report released by Arktic Fox.

The annual study, developed in partnership with recruitment firm Six Degrees Executive, surveyed over 200 senior marketing and business leaders to examine strategic priorities across martech, AI, data and analytics, privacy, customer experience, eCommerce, and retail media.

Spending grows

Retail media spend in Australia reached an estimated $2.6 billion in 2024 and is forecast to grow by 15% in 2025. Several major retailers, including Priceline, Bunnings and Petbarn, launched networks over the past year. Despite this growth, the report highlights a disconnect between ambition and capability.

Trust gap widens

Findings show that 54% of respondents have low levels of trust in retail media networks. A further 96% cite challenges in quantifying returns on retail media investments.

Additionally, 44% of brand leaders report limited internal capability to manage retail media effectively.

Network usage grows

While brands are engaging with the channel, 39% are using four or more retail media networks and one in three use Amazon Ads, investment remains cautious.

Fifty-five percent of brands plan to maintain current spend over the next 12 months, and 8% intend to reduce it.

Teresa Sperti, Founder and Director of Arktic Fox and report author, said the data presents a “moment of reflection” for the sector. “Retail media may offer a way to offset eCommerce margin pressure, but many lack the internal capability, across data, audience management, and reporting, for their own growth purposes,” she said.

The report indicates that as retail media matures in Australia, trust and internal capability will be critical to realising its full potential.

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Stan has announced the commencement of production for its new Original series Gnomes, a comedy-horror project headlined by Asa Butterfield and Megan Smart.

Filming is currently underway across Victoria for the series, which follows Senior Sergeant Arnold Kipps (Butterfield) and bureaucrat Ellie McKay (Smart) as they contend with an outbreak of murderous lawn ornaments in the fictional town of Nompton. The narrative centres on the reawakening of an ancient evil by the Gnome Queen, igniting chaos that forces the estranged pair to reunite.

The cast and crew

Gnomes features an ensemble of Australian talent including Darren Gilshenan, Alison Whyte, Tegan Higginbotham, Matt Okine, Brett Tucker, Nicole Gulasekharam, and Luke McGregor.

The cast also includes Nina Oyama, Syd Brisbane, Evelyn Krape, Richard Mueck, and Ditch Davey, alongside newcomers Oliver Edis, Leigh Lule, George Rayias, and Mila Hourmouzis. Tess Haubrich portrays the Gnome Queen.

The series is created by Joel Kohn (The Mirror) with scripts by Tegan Higginbotham and Paul F. Verhoeven. Direction is led by Matthias Hoene (Theodosia, Cockneys vs Zombies), with additional episodes directed by Sian Davies and Joel Kohn. Kohn also serves as co-producer with John Molloy of Total Fiction.

Top image: Megan Smart and Asa Butterfield

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Mountain Dew is entering the fashion fray with a new, limited-edition product release aimed at its most loyal fans. The beverage brand has launched “Mountain Dew Djorts”, denim shorts designed with built-in utility features and a distinctive Y2K aesthetic.

 

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A post shared by Mountain Dew Australia (@mountaindewaustralia)

Produced in a strictly limited run of 85 pairs, the Djorts will not be available for sale but can be won through a competition targeting Australian consumers.

The initiative follows sustained demand from Mountain Dew’s self-described “Dew-Hard” community and reflects the brand’s ongoing embrace of pop culture mashups.

Dew die-hards demand djorts.

According to the T&Cs, the djorts are valued at $120 (!!!) a pair, so Dew die-hards should denim up and enter while they can.

The unisex shorts feature several functional elements: a built-in bungee cord for keys or sunglasses, a dedicated ear pod pocket, a cooler pouch for beverages, and an oversized utility pocket for everyday essentials. The shorts are designed for versatility, described by the brand as “adventure-ready,” suitable for “trails, tides, and detours.”

With signature green accents and a cargo-style silhouette, the Djorts blend “Gorp-core” styling, a reference to utilitarian outdoor fashion, with early 2000s design cues. Mountain Dew is positioning the garment as both an ironic and iconic expression of brand loyalty and internet culture.

Fans can learn more and enter to win a pair via Mountain Dew’s Instagram. Entries close on 30 June.

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QSIC, a global in-store audio platform, has partnered with Wingstop to power the music experience at the restaurant chain’s first Australian location, which opened in Sydney on 17 May. The collaboration brings a curated, AI-driven soundtrack to the venue, aligning with Wingstop’s energetic brand.

Tailored soundtracks for a unique guest experience

Known for its bold flavours and high-energy identity, Wingstop engaged QSIC to ensure the in-store music complemented the customer experience. QSIC’s platform uses AI and data insights to deliver playlists that enhance brand atmosphere and engagement.

“As we opened our first location in Australia, we wanted every detail to reflect the bold and energetic personality of our brand,” said Locky Paech, Corporate Operations Director at Wingstop. “Partnering with QSIC allows us to bring the Wingstop brand to life through music, creating a vibe that’s distinctly ours from the moment guests walk through the door.”

QSIC’s growing retail presence

QSIC’s offering is already used across grocery, convenience, quick-service restaurants, and specialty retail. Clients include McDonald’s, 7-Eleven, and Coles/Reddy Express.

The company, originally founded in Australia, leverages AI to deliver dynamic, brand-aligned playlists that evolve with customer data.

Brad Montgomery, Commercial Lead APAC at QSIC, highlighted the role of music in customer retention. “Customers want to hear music that complements a store and enhances their experience, not just today’s top hits or elevator music,” Montgomery said. “With Wingstop, we’re building an audio experience that’s as bold and intentional as the brand itself.”

Wingstop currently operates more than 2,500 restaurants globally, including in the US, UK, France, Mexico, and Singapore. The Sydney debut follows months of social media anticipation among Australian fans.

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Australian Data and Insights Association (ADIA) has opened entries for 2025 Research Got Talent competition, which recognises and celebrates emerging talent in the data and insights industry.

The competition, now in its sixth year, is a joint initiative of the ADIA and the global ESOMAR Foundation, and encourages young industry professionals to use market research and insights to support local charities and NGOs to overcome pressing social issues.

Entries must reflect a relevant, innovative and impactful research design project that assesses and solves a specific issue, aiding change across areas including gender inequality, access to justice and education, integration and diversity, improving the lives of people with disabilities, environmental issues, climate change and sustainability.

This year’s competition will be judged by a panel of Australian data and insights industry experts, to be confirmed, and is open to young research professionals, aged 18 to 29, who are ADIA member organisation employees or work for an ESOMAR Australian-based member (individual or corporate).

The Australian winner is automatically entered into ESOMAR’s global competition, giving them a unique opportunity to attend the annual ESOMAR Congress, set to be held in September 2026. They will also attend next year’s ADIA Leaders Forum in Sydney.

Last year’s Australian winners were Emma La Grue and Mikela Dixon, from The Lab Insight & Strategy, for their entry on the vaping epidemic, prepared in conjunction with the Alcohol and Drug Foundation (ADF). The pair travelled to the ESOMAR Congress in Athens in September last year as part of their win.

La Grue said: “Had you told Mikela and I that we’d be flying from Sydney to Athens to attend one of the leading global events in market research, and that we’d be sitting amongst some of the industry’s most forward-thinking experts, we wouldn’t have believed you.

“We’re extremely grateful to have had the opportunity to attend this prestigious event so early in our careers, but also at such a pivotal time in the market research industry.

“The congress was a powerful reminder that the insights industry is rapidly evolving – the congress equipped us with new tools, fresh perspectives and global connections to help us navigate the future of insights, which we’re excited to implement into our work.”

 ADIA CEO, Sarah Campbell, said: “We are delighted to be launching this year’s Research Got Talent Award competition – our sixth – in Australia.

“The competition continues to reach new heights every year, with more entries, greater support for charities and NGOs, and stronger recognition of our young superstars, who use their research skills to make a difference.

“This year’s judges are looking for projects that are innovative, address a prominent social issue and have the potential to make changes to the charity they choose to support.

“ADIA and ESOMAR have urged members to support this competition and celebrate their employees and company on the national and global stage.”

Entries for this year’s competition open on Tuesday, June 3, an entrant briefing will be held online Tuesday, June 17. Entries will close on Monday, July 21, and winners will be announced in mid-August.

Top image: Emma La Grue and Mikela Dixon with Sarah Campbell

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Los Angeles-based creative company The Many is launching in Australia, with co-founder Damien Eley returning to Down Under to spearhead the expansion.

Eley said: “This isn’t a traditional agency launch and we’re not here to just work for hire. We’ve really tried to purpose-build this for an increasingly fragmented, fast-moving, and more audience-led world. We want to participate in our partners’ goals.”

Central to the creative agency’s expansion into Australia is a belief that the future of creativity is participatory

Eley added: “In an era where audiences demand agency and involvement, The Many’s approach flips the traditional model on its head – building ideas with audiences, not just for them.”

The agency’s model aims to turn brand fans into collaborators and culture-makers, from co-created IP and creator-led storytelling to AI-assisted campaign development.

Eley added that ‘Participation’ isn’t just a buzzword: “It’s a business strategy that drives deeper engagement, richer data, and more durable brand love.”

He brings over 20 years of global creative leadership to the venture, having worked with agencies such as BMF, Ogilvy New York, and Mother London before founding both Mistress and The Many in Los Angeles.

After four years of remote work from Australia, he’s now actively engaging with clients, collaborators, and acquisition opportunities across APAC.

Eley explained that the expansion is not about recreating LA in Sydney, he said: “It’s more about evolving The Many’s offering into something new that responds to, but also challenges, the market here – something flexible, local, and able to grow.”

The Many has evolved from an agency into a flexible, borderless solution built for participation-led creativity over the past few years. Its offering includes The Many Agency for strategic brand work, The Many Studios for participatory branded content and IP, The Many Labs for AI-driven innovation, The Many Media, managing over AUD$100 million worth in media for insight-led distribution, and The Many Brand Partners.

The Many is purpose-built for a generation that doesn’t want to be sold to – they want to be part of the brand story. The agency’s philosophy of evolving with its audiences has been proven across campaigns including Hot Wheels, Mixwell, Jin Ramen, eBay Between2Rides and The Vault.

Eley added: “Rather than opening another satellite agency, we are building a new model of creative business development for APAC – modular, flexible, and responsive.

“This vision encompasses smart, culturally tuned creative solutions for Australian brands, a hub for participatory branded content with monetisation potential, and a strategic base for regional expansion, innovation, and even potential acquisitions, particularly in the immersive tech space.

“Australia doesn’t need just another indie creative agency. It needs a new kind of partner.”

The Many is now engaging with potential partners across the region. Interested parties are invited to participate in shaping the future of brand engagement in Australia.

Top image: Damien Ely

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Mattel has launched a fully shoppable advertising campaign that allows viewers explore and purchase featured products directly from their screen

The campaign, in partnership with Yahoo, News Corp Australia (via Tubi), Universal McCann (UM), and commerce technology company Vudoo, is the first time the toy manufacturer has launched a global commerce media activation using Vudoo’s Commerce TV technology.

The partnership makes TV advertising more than an awareness tool, turning it into a fully interactive experience that captures attention and drives immediate action.

The media rollout includes connected TV, rich media, and display across News Corp’s network. Yahoo’s DSP handles the media planning and buying, including Afterpay-powered audience targeting and in-ad tracking for retargeting, delivered within a premium inventory environment.

The ad appears on Tubi and includes a visual prompt in the form of a QR code, a format that audiences are now familiar with and increasingly comfortable using while watching TV.

Rather than sending viewers to a generic product page or brand site, the campaign directs them to a Vudoo-powered, curated shopping experience designed specifically for this activation. The dedicated interface strips away unnecessary friction – no clutter, no distractions, just the featured Mattel products and a fast, mobile-first path to purchase.

The layer behind the QR code that sets the campaign apart. By enhancing the post-scan journey, Vudoo enables first-party data capture, cross-channel attribution, and measurable outcomes that connect media exposure to commerce, creating a clearer picture of what drives conversion and how audiences move from interest to action.

“TV advertising has always been about reach, but with this campaign, it’s also about action,” Nick Morgan, founder and CEO of Vudoo, said. “We’re giving people the option to respond the moment they’re inspired, and giving brands the tools to track what happens next.”

Beyond convenience, the campaign also introduces stronger cross-channel measurement and attribution. With Vudoo’s technology underpinning the experience, Mattel is able to gather first-party data from across its media mix, something that’s been hard to do with traditional advertising. That means the brand can better understand how consumers behave, where they convert, and how to reach them again more effectively.

These insights don’t just improve reporting, they support smarter, more precise targeting over time. By tracking user behaviour across multiple touchpoints, the campaign opens the door to improved Return on Ad Spend (ROAS), and more importantly, incremental ROAS (iROAS) – helping the brand understand the true value of each media impression by measuring what would not have occurred without this creative and media combination.

Andrew Spence, ANZ eCommerce Lead at Mattel, said: “At Mattel, we’re constantly seeking ways to reach families. This campaign shows how innovation can bring shopping and storytelling closer together than ever before. We’re excited to be part of such a strong collaboration.”

John McNerney, Managing Director at Yahoo Australia & SEA, added: “This highlights the true power when coupling creative commerce with Afterpay’s purchase behaviour and Yahoo’s DSP tech together for a seamless consumer experience across digital screens.”

While UM has led the media execution, the broader IPG Mediabrands network supported the campaign’s commerce innovation through KINESSO, its digital, data and commerce innovation division.

Andy Holford, Chief Product Officer, KINESSO, said: “By collaborating across technology, media, and retail platforms, we’ve created a truly integrated, consumer-first experience. This campaign sets a new standard for what’s possible in commerce media.”

This format meets audiences where they are, giving them the ability to go from interest to intent in seconds. Research from GWI shows that 86% of people use a second screen while watching TV, and 35% shop for products they see in shows or ads. This Mattel campaign turns that behaviour into something measurable, and ultimately, shoppable.

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