SBS yesterday held its 2026 Upfronts presentation for media buyers and media alike.

1. Reckless is the title that popped in the sizzle reel

The emphasis of the Upfronts was firmly on the World Cup. It took up so much oxygen in the room, that other titles didn’t quite have as much impact as they otherwise would have.  But something that caught this media writers attention was a new three-episode series Reckless. Based on the BBC Scotland series Guilt, which has had a run on SBS On Demand, Reckless has indigenous leads Tasma Walton and Hunter Page-Lochard as siblings dealing with the consequences of hiding a hit and run accident. The trailer looked noisy and vibrant, with a disturbingly on-point Violent Femmes song blasting over the top.

The show went into production early this year in Fremantle. I was talking with the team from BBC in Australia early in the week and they seemed legitimately excited about it. Hopefully the show delivers the goods when it debuts, but so far it looks promising.

2. SBS gets serious about opt-out advertising

While it seems counter-intuitive at an upfronts event to pitch your network to media-buyers with a message about enabling opt-out of advertising functionality to SBS On Demand, that’s exactly what SBS were doing yesterday. To be clear, SBS isn’t letting users of SBS On Demand to opt-out of all ads – just ads in specific categories. On Demand viewers can now flag if they want to block the service from serving alcohol, wagering, and quick service restaurant ads.

During a beta trial, SBS reports that it saw a 45% drop in complaints about wagering ads.

Nobody wants to see their ad-dollars go to waste. During the upfronts, SBS Acting Managing Director Jane Palfreyman talked up the benefits: “It was a win for the consumer, but importantly it was also a win for the advertiser who was not paying to reach consumers who weren’t interested in that category of advertising.”

While this feels like a move that makes sense for a broadcaster like SBS, I wouldn’t expect to see similar moves made by the other commercial broadcasters.

3. The third S in SBS means ‘soccer’ – they’re pretty serious about the World Cup

Next year SBS will have exclusive coverage of the FIFA World Cup 2026, which kicks-off in June. They’re talking about an expected 550 hours of live and on-demand coverage, of the tournament which will be hosted across Canada, Mexico and the US. The coverage will include a record 104 matches under a new 48-team format.

Something pretty unique to SBS is its broadcast of events that have buy-in from local audiences both with and without local participation. Yes, the attention surrounding events like the World Cup, the Tour de France, and Eurovision would mushroom if Australians are performing well with the possibility of winning, but SBS can still command high viewership around these events regardless. Chatting with Keiran Beasley, National Sales Manager – Digital and TV, SBS Media, after the upfronts, Beasley talked about some of the modelling they have done around this and even if, say, the Socceroos don’t find huge success at the World Cup, SBS is still pretty confident in a bumper viewership.

4. John Safran is back

It is pretty safe to say that neither of John Safran’s two previous SBS documentary shows, John Safran: Music Jamboree (2002) and John Safran Vs God (2004) were ratings powerhouses, he continues to still be identified with a certain type of programming that often finds a home on SBS. It’s that sort of smart, progressive, and controversial subject matter that has always struggled to find a home on much of commercial TV, but is more easily able to find an audience in the modern YouTube era.

SBS has Safran back, this time hosting the documentary special Shut Your Big Fat Mouth, which explores issues of free speech in Australia. There was something very comforting about seeing Safran back as part of the SBS lineup. He has a voice that would have fit in remarkably well with the SBS VICELAND launch back in the day. His absence has been felt – especially at SBS which used to revel in this kind of programming.

5. The factual slate is buzzy

To nobody’s surprise, Alone will be back for another season. That show has done monster numbers for SBS with viewers tuning in for the local version of the format. For the fourth season, the show is leaving Australia/New Zealand and is headed to the Arctic Circle. I got a chill just typing that out.

A buzzy title will be The People vs Robodebt, a three-parter exploring the personal cost of the government’s Robodebt program.

SBS is clearly hampered by budgetary issues that holds it back on the scripted front, but the factual lineup this year (which you can read deeper into at Mediaweek) is again a strong reminder of how inventive SBS can be in creating memorable, compelling factual projects.

HBO Max is now available as a Prime Video add-on subscription in Australia, giving local viewers access to a broad library of Warner Bros. Discovery content from $11.99/month.

Available from today, the HBO Max add-on is priced at $11.99/month for the Basic with Ads plan, or $15.99/month for the Standard tier. It includes content from brands such as HBO, Warner Bros., DC, Discovery, and franchises including Harry Potter and The Big Bang Theory, all accessible within the Prime Video app.

The partnership extends HBO Max’s reach in Australia, following its local launch in April. It also supports Prime Video’s push to consolidate premium entertainment offerings in a single interface, across thousands of supported devices.

With the addition of HBO Max, Prime Video now offers 27 add-on video subscriptions. Other video services include: Paramount+, Apple TV+, Britbox, MGM+, Hayu, Lionsgate+, and beIN SPORTS.

Users with the add-on subscription can manage billing on a single platform and access video from their subscribed services all through the one interface. Similar functionality is available via competitor platforms Apple TV and Foxtel’s Hubbl, with Prime Video leading in the number of paid-subscription partners.

Shows now available to subscribers include HBO hits like The Last of Us, The White Lotus, House of the Dragon, and upcoming titles such as IT: Welcome to Derry, A Knight of the Seven Kingdoms, and Task. The library also includes Max Originals like And Just Like That…, The Pitt, and Peacemaker, alongside legacy favourites such as Friends and Rick and Morty.

Daniel Slepak, Head of Marketplace, Prime Video Canada, Australia, and New Zealand, said: “We’re thrilled to welcome HBO Max to Prime Video as our 27th add-on subscription partner in Australia, growing our stellar entertainment catalogue and giving our customers an even greater selection of world-class series and blockbuster movies, all in one app experience.”

Michael Brooks, Managing Director, Warner Bros. Discovery Australia and New Zealand, added: “After a successful launch only five months ago, our stellar library of global brands and premium content continues to resonate in this market, and this partnership with Prime Video allows us to bring that offering to even more Australians.”

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When Commercial Radio & Audio (CRA) wanted to push its The Power of Audio brand campaign beyond traditional formats, it turned to Original Audio.

The agency was tasked with showing, not telling, what makes digital audio such a powerful tool for advertisers.

The result was almost 500 different ad variants, each personalised to a listener’s circumstances in real time.

Building personalisation into every ad

For Aaron Matthews, co-founder and creative director at Original Audio, the brief was about proving what audio can do when technology and creativity work in tandem.

He says the idea from CRA and its creative partners set the stage, but it was the execution in dynamic audio that unlocked its potential.

“When the CRA team brought us across The Power of Audio creative idea, we knew that extending it into dynamic audio would give the campaign a whole new dimension,” Matthews explains.

“Four live data signals in every ad and almost 500 potential creative variants may sound like overkill, but it was important for us to maximise the personalisation of the creative and therefore the impact.”

The team built ads that tapped into four live signals – device, location, time of day and weather – so that every listener heard something that felt tailored to their context.

Matthews describes the approach as proof in practice: “Showing is always better than telling and it’s been a joy to be able to use the medium as the message.”

The role of Original Audio

Although CRA developed the overarching The Power of Audio campaign with Thinkerbell, Glue Society and Massive Music, it was Original Audio that translated the creative into dynamic executions.

That meant creating a scalable framework where each ad could change on the fly, reflecting back to listeners the environment they were in.

By weaving data into the storytelling itself, the ads didn’t just claim that audio can be targeted—they demonstrated it in the moment.

That, Matthews says, was the key: using the format to advocate for itself.

A track record in dynamic campaigns

This project is not an outlier for Original Audio. The agency has been carving out a niche in dynamic creative, working on campaigns for Transport for NSW, McDonald’s, Banana Boat and Binge.

Each of these required balancing creative craft with the technical know-how to integrate live data feeds.

The CRA campaign, though, offered something different: a chance to use dynamic creative not for a single brand, but to showcase the potential of the medium itself.

In that sense, it functioned as both an industry demonstration and a client campaign rolled into one.

Positioning for the industry

The Power of Audio sits within CRA’s broader positioning, Where Brands Are Heard, which aims to encourage greater advertiser investment in commercial radio and digital audio.

For Matthews and the Original Audio team, the project underscores how far the medium has come in convincing marketers of its targeting power.

The dynamic executions ran across CRA member networks including LiSTNR (SCA), iHeart (ARN), NOVA Entertainment, Nine Radio and Ace Radio, giving the agency’s work wide exposure across the industry.

By embedding data directly into the creative, Original Audio helped CRA show advertisers what digital audio can deliver – not in a case study after the fact, but in the act of listening itself.

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Independent creative communications agency alt/shift/ has appointed Katie Raleigh as Managing Director of its Sydney office.

Raleigh joins after more than seven years at Poem, where she rose to Managing Director.

She has also held roles at Samsung Electronics and One Green Bean, working across consumer, entertainment, tech and lifestyle brands.

At alt/shift/, Raleigh will oversee the Sydney office and contribute to the agency’s national strategy.

“When I looked at what alt/shift/ has achieved in less than a decade – three offices nationwide, bold new services, and an exciting pipeline of work – it was clear this was where I wanted to be,” Raleigh said.

“I’ve long admired alt/shift/ for its fearless, behaviourally informed earned approach. Leading the Sydney team at such a pivotal moment was an opportunity I couldn’t pass up. I’m ready to dive in, champion fresh thinking, and build an agency that creates both cultural and commercial impact.”

Elly Hewitt, alt/shift/ Co-founder and National CEO, said the appointment is a significant milestone for the agency: “Katie’s reputation speaks for itself. She’s a brilliant operator with the vision, drive and creative smarts to lead our Sydney office into an exciting new chapter.”

“Katie’s known for delivering modern, culture-led work that earns real impact. I’m delighted that we could attract talent of her calibre to help us further develop our integrated offering. We couldn’t be more thrilled to welcome Katie as a Shifty.”

The agency has also welcomed back Conor Nastasi as Account Director in Sydney, following his role at Cancer Council NSW.

Nastasi said:  “I loved my time at Cancer Council but found myself ready for a new challenge and excited by the agency’s direction, as well as the growth ambitions Katie has for the Sydney office.”

The appointments follow a period of momentum for alt/shift/, including new senior Practice Head roles and client wins across consumer, corporate and government sectors.

Top image: Katie Raleigh

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Lion has appointed Anubha Sahasrabuddhe as CEO and announced a restructure that combines its Australian and New Zealand operations into a single Lion ANZ business.

The move brings both markets under one leadership team, aiming to streamline decision-making and sharpen focus on local customers.

Sahasrabuddhe, currently Lion’s Chief Growth & Commercial Officer and co-lead of Lion Australia, joined the company in 2021 after senior roles at Coca-Cola and Mars Wrigley across Asia Pacific and North America. She will step into the CEO role from 1 October 2025, when the new structure takes effect.

Sahasrabuddhe said: “In recent years we’ve been transforming Lion to create a powerful platform for growth – unlocking new investment which has been refocused into our world-class brands, digital transformation and product innovation – while strengthening our supply chain and improving our partnerships & execution with customers.

“But great businesses never stand still and Lion ANZ will position our business as an Australasian powerhouse, building on our incredible heritage spanning more than 180 years and the momentum we have created in recent years.

“Lion ANZ will make us more dynamic and market-focused than ever before – propelling our iconic beer brands to new heights and supercharging our growth in Australia and New Zealand. Lion is an incredible company and I am delighted to have been appointed as its next CEO to take us forward into our next era of growth.”

Lion’s US businesses, New Belgium Brewing and Distinguished Vineyards, will now report directly to parent company Kirin, allowing Lion to concentrate on the ANZ market.

As part of the restructure, James Brindley will continue as Lion Australia MD until the end of 2025 before moving into a Strategic Advisor role, while also leading Lion’s spirits business.

Current NZ MD Craig Baldie has been named COO, overseeing Sales & Marketing in New Zealand along with Strategy, Digital & Technology, Sustainability, and Container Deposit Schemes.

Other appointees to the new Lion Leadership Team include Severine Yerriah as Chief Financial Officer; Matthew Anderson as Chief Supply Chain Officer; Glen Brasington as Executive General Manager – Marketing; Kerry Appathurai as Executive General Manager – Sales; Adam Gelbart as Executive General Manager – Commercial Operations.

Brindley takes on the role of Strategic Advisor; Jane Hill as Chief People Officer; Saira Zaki as General Counsel; Ted Sato as Executive Board Director and KIRIN Strategy Director; Julian Luke as Executive Director Corporate Affairs; and Kenneth Yeo as Executive Director Risk & Audit.

Sahasrabuddhe will commence as Lion CEO from 1 October 2025, which is when the new Lion Leadership Team and other changes will also take effect. Sam Fischer will conclude as Lion CEO at the end of October 2025, as previously announced.

Top image: Anubha Sahasrabuddhe

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Fast-fashion giant Shein has pulled a listing for a men’s shirt, after what appears to be an AI-generated image resembling Luigi Mangione – the 27-year-old charged with killing UnitedHealthcare CEO Brian Thompson – was used to sell the floral button-down.

Mangione, who is currently being held at the Metropolitan Detention Center in Brooklyn, has pleaded not guilty to federal charges, including murder and stalking.

Prosecutors have said they will pursue the death penalty if he is convicted.

The image

News spread of the photo’s existence last night, after being shared by culture and news account Popcrave on X.

Shein’s website appears to use Luigi Mangione’s face to model a spring/summer shirt. pic.twitter.com/UPXW8fEPPq

— Pop Crave (@PopCrave) September 3, 2025

By Thursday morning, Shein had taken down the listing, though an archived version remains accessible.

Shein’s explanation

The shirt was supplied by Manfinity, a third-party brand known for using AI-generated models across its Shein products.

In a statement provided to several media outlets, including 404 Media, Shein said: “The image in question was provided by a third-party vendor and was removed immediately upon discovery. We have stringent standards for all listings on our platform. We are conducting a thorough investigation, strengthening our monitoring processes, and will take appropriate action against the vendor in line with our policies.”

The archived product description read: “Men’s New Spring/Summer Short Sleeve Blue Ditsy Floral White Shirt, Pastoral Style Gentleman Shirt For Everyday Wear, Family Matching Mommy And Me (3 Pieces Are Sold Separately).”

By the time it was removed, all sizes had sold out except XXL.

Memes and online adulation

The circulation of Mangione’s image online offers some explanation as to how it ended up tied to a product listing in the first place.

Since his arrest in Pennsylvania late last year, Mangione has become the subject of memes. One post, viewed millions of times, showed James Gandolfini as Tony Soprano with the caption: “In this house, Luigi Mangione is a hero, end of story.”

Susan Campbell, a lecturer in the Department of Communications, Film, and Media Studies at the University of New Haven, told Forbes this type of response towards accused criminals isn’t new.

“Pre-social-media cheered on the likes of Bonnie and Clyde, Belle Starr, and members of the James Gang as well as any other outlaw romanticised in the media. This was especially true so long as the perception was these criminals were doing battle against a system that is set up to favour the already favoured,” she said.

Growing use of AI in fashion

Forget the days of being outraged over airbrushing, because it’s now getting harder and harder to tell whether or not the model wearing your favourite new outfit is even real.

Manfinity and other Shein-affiliated vendors have leaned heavily on AI-generated models, often featuring stylised men in workout gear or children in promotional listings.

The use of AI in fashion has accelerated more broadly, with brands such as Guess trialling AI-generated women in advertisements run by Vogue.

The case highlights the risks for marketplaces where product imagery is increasingly automated. Automated systems can quickly seize on trending memes or viral faces, sometimes without sufficient oversight before items go live.

Regulatory and business backdrop

This incident comes as Shein faces wider regulatory scrutiny.

EU justice commissioner Michael McGrath recently pledged tougher rules on goods sold by China-linked marketplaces like Shein and Temu, citing safety and compliance risks.

Shein has previously stated it is “fully committed to ensuring the products we offer are safe and compliant.”

Regulatory shifts are also under way in the UK and US regarding customs duty thresholds, which affect how fast-fashion imports are taxed and checked.

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Nissan Australia has launched Patrol, It’s Out There, an integrated campaign developed with TBWA\Melbourne, Revolver and Glue Society, turning the brand’s 4×4 into the prize of a nationwide hunt.

The campaign challenged Australians to locate a hidden Nissan Patrol, with the winner keeping the vehicle. The activation tapped into off-road communities and culminated in a 30-second TVC.

Bilgen Tug, Director Brand and Customer Experience, Nissan said “Leveraging Patrol’s long history in Australia, we sought to intrigue Australia’s 4×4 communities and adventurers at heart.

“To do so, we celebrated how a Nissan Patrol can give anyone the opportunity to explore all that the Australian landscape has to offer and captured those moments in an authentic way.”

The experience began online with geolocator and GeoGuessr World Cup representative Oscar Pearce providing cryptic clues, requiring participants to analyse terrain, soil, tree lines and light angles. CarExpert.com.au dropped the first clue, sparking conversation across 4×4 forums.

More than 1,000 Australians submitted video entries to join the live hunt, with five finalist teams flown to South Australia’s Bendleby Ranges to compete across more than 200km of 4WD tracks.

Director, Jonathan Kneebone, Glue Society said: “The idea of hiding a Nissan Patrol in the middle of the Australian outback and allowing people to test their detective and driving skills to find it was something we couldn’t resist being part of.

“It sounds simple, but as productions go, it was beyond what we’d ever attempted. Wild weather events, extraordinary remoteness and lack of infrastructure aside, the reward was in making the seemingly impossible happen. It bought out the real adventurer in all of us, just like the Patrol itself.”

The finale was covered by Channel 7’s Sunrise, which broadcast live from the secret location and announced the winners, Beth and Travers, a mother and son team who drove away in the Patrol.

Paul Reardon, Chief Creative Officer, TBWA\Melbourne, said: “Finders-keepers with a brand-new Nissan Patrol. Watching the lengths people went to, in order to enter this competition was amazing.

“It’s a level of engagement with a brand that’s often so hard to achieve. And at the heart of the competition, amongst all the excitement, we also had a brilliant product demonstration, contestants drove Nissan Patrols to find one, in harsh Australian 4WDing conditions,.”

Stephanie Gwee, Creative Director, TBWA\Melbourne added: “Hiding a Patrol in the outback wasn’t just a stunt and it wasn’t just advertising. It was a way to show that this vehicle belongs to the land and the people who take it on. This campaign was about celebrating that spirit and inviting even more Australians into the story.”

Credits
Client: Nissan Australia
Director Brand and Customer Experience: Bilgen Tug
Senior Manager Brand, Marketing Communications & Sponsorship: Alison Clancey
Marketing Communications Manager: Sara Grobelna

TBWA\Melbourne
Chief Creative Officer: Paul Reardon
Creative Director: Stephanie Gwee
Head Producer: Joel Morgan
Producer: Maria Borowski
Head of Planning: Virginia Pracht
Creative: Scott Canning
Creative: Bruce Baldwin
Creative: Amy Peden
Creative: Ryan Doray
BTS/Social Editor: Tom Edney

NissanUnited
Client Partner: Cameron Green
Business Director: Jeremiah Espanto
Social Media Manager: Michaela Stevenson
Group Account Director (Media): Rebecca Lloyd
Account Director (Media): Yvette Crimmins

Production Company: Revolver
Director: Glue Society
Managing Director/Co-Owner: Michael Ritchie
Executive Producer/Partner: Pip Smart
Executive Producer: Jasmin Helliar
Senior Producer: Serena Paull
DOP: Jordan Maddocks

Post Production: Glue Society Studios
Editor: Luke Crethar
Colourist + Online: Scott Stirling

Sound Production: Rumble Studios
Music Composition: Rumble Studios

Media Partners
CarExpert
Seven West Media

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SBS was the first Australian TV network to present an upfront event to promote the upcoming 2026 season.

With a World Cup themed pitch to a room of approximately 400 media buyers, partners, and journalists, SBS Acting General Manager Jane Palfreyman launched the hour-long presentation.

In the spirit of sex before soccer, Palfreyman and the audience copped an eyeful with an ‘unexpected’ nudie run cameo from the charismatic lead of its memorable We Go There ad campaign.

Sports

SBS is preparing for a huge year of sport, headlined by its exclusive coverage of the FIFA World Cup 2026™. In less than a year, the network will deliver more than 550 hours of live and on-demand coverage, positioning itself as the home of the world game.

The tournament, hosted across Canada, Mexico and the United States, will feature a record 104 matches under a new 48-team format. SBS will broadcast every game live in HD, supported by replays, highlights and pitch-side reporting throughout the Socceroos’ campaign.

A dedicated FIFA World Cup hub on SBS On Demand will give fans flexible access to matches, classic moments and behind-the-scenes stories, while SBS Sport will extend the coverage with digital and social storytelling across the six-week event.

SBS will also add FIFA+ to its FAST channel line-up, providing 24/7 access to FIFA content and global football stories from both the men’s and women’s games.

Alongside football, SBS has confirmed it will remain the free-to-air home of cycling through to 2030. The renewed rights deal includes the Tour de France Femmes, which joins SBS’s existing portfolio of the Tour de France, La Vuelta a España and Europe’s one-day Classics.

Documentaries

Leading the line-up is The People Vs Robodebt, a three-part documentary-drama described as a political thriller at its core. The series revisits one of Australia’s most contentious recent scandals, highlighting the people who challenged a powerful system and exposing the human impact of the Robodebt scheme.

The Australia Uncovered strand also continues, with two newly announced titles.

Shut Your Big Fat Mouth John Safran! sees the author, satirist and documentarian unpack the growing culture wars around censorship in Australia. Meanwhile, We Are Jeni follows the extraordinary story of a woman with 2,500 alter personalities whose fight for recognition in the justice system led to a legal milestone.

Two returning commissions, The Hospital: In the Deep End and The Jury, will build on their first-season success.

The former brings Matt Preston, Jelena Dokic and Ruby Rose back into St Vincent’s Hospital to explore life on the frontline of healthcare. The latter stages a five-part true crime experiment, recreating a closely contested manslaughter case word-for-word before a new jury.

Marc Fennell will also return in 2026 with a diverse slate. Alongside hosting Mastermind, he fronts two new documentaries: Tell Me What You Really Think, an intimate dinner series exploring complex health issues, and There is No John, which investigates the mysterious and dramatic case of John Friedrich, one of Australia’s most puzzling true crime stories.

Old Favourites

SBS’s breakout survival hit Alone Australia will return in 2026 for its fourth season, with the series moving to its most ambitious setting yet: the Arctic Circle.

The new season flips the globe and raises the stakes, sending 10 participants into the harsh conditions of a Northern Hemisphere winter.

The format remains unchanged: the last person standing will walk away with a $250,000 prize. What has changed is the scale of the challenge, with the series now testing participants against one of the most extreme environments on earth.

SBS is continuing its focus on stories of identity, heritage and celebration in 2026, with the return of several audience favourites.

Who Do You Think You Are? will enter its 17th year, with a new cast of well-known Australians uncovering their family histories. The 2026 line-up includes actor Essie Davis, broadcaster Chrissie Swan, actor Aaron Pedersen and sports commentator Bruce McAvaney. Each will trace surprising and personal stories from their past.

Shaun Micallef will also return with a new season of Origin Odyssey. The series takes six familiar Australian faces on immersive journeys back to their countries of origin, blending history, culture and identity with Micallef’s trademark humour.

SBS will again be the home of the Eurovision Song Contest, following an audience of 2.62 million Australians this year. The 2026 contest will be broadcast live from Vienna, with commentary from Tony Armstrong and Courtney Act guiding viewers through the spectacle.

Blockbusters

SBS will continue to expand its slate of international drama in 2026, adding a mix of high-profile series and award-winning films to its schedule.

Among the headline titles is King & Conqueror, an epic saga of power and betrayal starring James Norton and Nikolaj Coster-Waldau.

Three major book-to-screen adaptations are also on the way: What It Feels Like for a Girl, a Y2K coming-of-age story inspired by Paris Lees’ memoir exploring gender identity and self-discovery; Trespasses, starring Gillian Anderson, set during the Troubles in Northern Ireland; and A Love Story, a BBC One series from Dancing Ledge (The Salisbury Poisonings, The Responder) that recounts Nazanin Zaghari-Ratcliffe’s imprisonment in Iran and eventual reunion with her family.

The drama offering will be supported by a strong selection of world movies.

SBS will showcase the acclaimed French mystery Anatomy of a Fall, Sofia Coppola’s Priscilla starring Cailee Spaeny and Jacob Elordi, Juliette Binoche in period romance The Taste of Things, and Australian horror feature The Moogai, led by Shari Sebbens.

Drama

SBS will expand its commitment to original Australian drama in 2026, unveiling two major new SBS Originals and three series developed through its Digital Originals program with Screen Australia.

The Chaplain is set in the high-pressure environment of Melbourne Airport, inspired by the real-life experiences of its chaplain.

The series is described as a big-hearted drama that explores the intensity of airport life while highlighting shared humanity, emotion and humour.

In partnership with NITV, Reckless will bring a First Nations-led story to screen. Created by writer and executive producer Kodie Bedford, the drama stars Tasma Walton and Hunter Page-Lochard as estranged siblings whose lives spiral out of control after a deadly hit-and-run cover-up.

Alongside these SBS Originals, the network has announced three new projects emerging from its Digital Originals initiative, which focuses on supporting new and under-represented creative voices.

Fish Boi follows a hustler attempting to rebuild his family’s respect by launching Western Sydney’s biggest fish delivery business. Homebodies tells the story of Darcy, who returns home to his estranged mother only to discover she is living with the ghost of his pre-transition teenage self.

Miss Sultanah centres on sisters Alana and Nicky as they launch a disabled-only beauty pageant to honour their mother’s legacy as a beauty queen.

First Nations Stories

NITV will continue to foreground First Nations voices in 2026, announcing a slate of new and returning programs that highlight strength, resilience and community across Australia.

Among the key titles is 2.6 Seconds, a landmark documentary series co-commissioned with SBS. The series examines the fatal shooting of 19-year-old Walpiri Luritja teenager Kumanjayi Walker by police officer Zachary Rolfe, unpacking the shocking moments that captured national and international attention.

Also announced is Colleano Heart, which traces the hidden legacy of a famous circus family. The series follows descendants as they reconnect across continents to uncover their Aboriginal ancestry and global stardom, told through rare home movies, never-before-seen footage, family interviews and archival recordings.

Our Medicine will return with new episodes, continuing to spotlight the work of First Nations health workers reclaiming Indigenous healthcare.

Alongside these titles, NITV will expand its curated content offering.

Earth Oven, fronted by Māori actor Temuera Morrison, explores how earth ovens have shaped cultures around the world. Going Places with Ernie Dingo also returns, with guests including Mark Coles Smith and Brooke Blurton, as they explore some of Australia’s most significant landmarks and uncover stories of people, history and landscape.

Food

Food remains central to SBS’s programming strategy in 2026, with a slate of new and returning series that combine global flavours, cultural storytelling and personal journeys.

Later this month, Beyond Bali with Lara Lee will premiere. The chef, author and television personality explores the Indonesian archipelago, uncovering both surprising new dishes and her own culinary heritage.

Shane Delia returns with Shane Delia’s Malta, revisiting the land of his ancestors to examine how history and tradition shape Maltese food culture.

Adam Liaw will feature heavily across the line-up. He continues as host of SBS’s largest commissioned food series, The Cook Up with Adam Liaw, while also fronting Adam Liaw’s Great Football Feasts, filmed across FIFA World Cup host nations Canada, Mexico and the USA. The new series links food and sport, with Liaw meeting locals and creating game-day dishes inspired by each country.

International chef Rick Stein will embark on a more personal journey in Rick Stein’s Australia. Revisiting the adventures of his 19-year-old self, Stein explores how Australia – and its food – have changed over time.

Closer to home, Matt Preston’s FoodAdventures sees the food critic travel through Australian and New Zealand wine regions, meeting farmers, artisans and winemakers to highlight the people behind local produce.

Rounding out the slate is the second season of Taste of the Tropics. Produced in partnership with SBS, Screen Queensland and Screenworks, the series showcases stories from emerging regional creators in North and Far North Queensland, spotlighting how food shapes community and identity.

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SBS used its Upfront 2026 to spotlight new research on ad effectiveness and announce a fresh tourism partnership.

In a market-first study with Samba TV and Insighten, SBS revealed insights into ad load experiences across live TV viewing on all free-to-air commercial networks.

Keiran Beasley, National Sales Manager – Digital and TV, SBS Media, said: “Across both linear and live streaming environments, Australians are exposed to an average of up to 16 minutes of ads per hour on some networks.

“In contrast, SBS has no more than five minutes per hour, giving audiences a better viewing experience and brands a clearer voice.”

The research highlighted consumer preference for shorter, fewer ad breaks, aligning with updated findings from Ehrenberg-Bass.

“This research suggests that SBS’s low clutter environment delivers between 32 and 47 per cent better recall than our free-to-air competitors. Shorter ad breaks remain a cornerstone of SBS’s premium standout environment.”

SBS also confirmed plans to extend the ad load research in 2026 to include all major streaming players in the Australian market.

“Early next year, we’re expanding this research further to include ad-supported SVODs and YouTube – helping agencies and clients understand clutter across the entire Total TV ecosystem,” he said.

“In a world where attention is scarce, smart marketers ensure their message stands out – not lost in the noise – and drives measurable results.”

Yasmin Sanders, Vice President APAC at Samba TV, stressed the importance of this research in bringing further transparency to the sector.

“The media sector has requested more transparency on ad loads, particularly in streaming, as well as insights based on the real experience of viewers.

“With Samba TV data, SBS has been able to deliver a combined live total TV view to further provide accuracy and transparency into how audiences engage across live and streaming,” said Sanders.

Gagan Batra, Director of Insighten, highlighted the future value of this work. “This has been a novel use of Samba TV data in the Australian context.

“It has required forensic examination of the data to model the viewing experience; however we are now in a great position to expand the analysis to the full range of BVOD and SVOD services.”

At the event, SBS also announced a partnership with the South Australian Tourism Commission, promoting the state as a summer destination to audiences in New South Wales and Victoria.

“We know SBS offers a premium audience and world-class ad environment. We’re also working hard to prove the return on investment,” said Beasley.

“South Australian Tourism worked with us to prove that SBS viewers exposed to their campaign drove an uplift in foot traffic.

Partnering with Azira and Merkle to measure precise footfall attribution, their campaign on SBS On Demand delivered a 42% uplift in foot traffic and over 12,000 verified visits.

“For the first time, they could measure cost per incremental visitor — and prove exceptional return on ad spend with SBS.”

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Peppa Pig’s world is getting a shake-up, and Australian families will be among the first to see it.

Baby Evie, Peppa’s new sister, will be making her television debut on ABC Kids on the 15th of September, marking the next chapter for the long-running preschool favourite.

A new chapter

Evie’s arrival brings a storyline familiar to many young children – welcoming a sibling and navigating the changes that come with it.

For parents, it’s a nod to the everyday realities of family life: the balancing act of work, home and play.

“Mummy and Daddy Pig continue to model warm, playful and realistic parenting – balancing work and home life with teamwork and humour,” according to franchise owner Hasbro.

“Together, Peppa’s family offers a window into modern family dynamics that resonate with viewers across generations.”

The furore surrounding the original announcement that the animated family was set to welcome a new member reached such fever pitch, Grazia UK turned out an ‘exclusive’ chat with Mummy Pig, where she revealed whether she was having a boy or a girl.

From big screen to ABC Kids

The character first appeared in Peppa Meets the Baby, a special cinema release that premiered in Australia on May 30.

Now, Evie moves from the big screen to the small, joining Peppa and George as the family becomes five.

This transition is part of a larger refresh for the franchise, which also includes a reimagined theme song, brighter visuals, and more modern details woven into the Pig family’s world – think smartphones, flat-screen TVs and video calls.

The refresh keeps that legacy intact while adjusting the stories to feel closer to home for today’s families.

Themes around sibling relationships, emotional development and parenting moments remain central – with plenty of oinks, giggles and muddy puddles along the way.

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REBORN has appointed Nate Norrish as Head of Connected Experiences, a newly created role focused on driving growth across social, PR, partnerships and experiences.

Norrish returns to Australia after 14 years leading global content and partnership teams in the US and Europe. He will oversee the independent agency’s expansion into creator partnerships, social content production, brand experiences and integrated partnerships.

David Easton, CEO of REBORN, said of the appointment. “We are thrilled to welcome Nate to the REBORN team.

“His global experience in merging creativity with commercial strategy, particularly within the dynamic worlds of content and media, is exactly what we were looking for to drive our next phase of growth. This role is pivotal in delivering truly connected, impactful experiences for our clients”

Norrish’s hire is part of REBORN’s push to strengthen its influence and brand connection capabilities, with Norrish tasked with developing a dedicated Influence offering that brings together creators, talent, brands and partners.

Easton said: “This approach is designed not just to capture attention, but to maximise the lifespan and impact of creative assets, while developing new formats and innovations that extend content beyond a single moment, building efficiencies and ultimately setting REBORN apart in the competitive agency landscape.”

Norrish shared his excitement for his new challenge, said: “This is truly a homecoming for me, both personally and professionally. My decade-plus experience abroad among some of the biggest brands has forged my deep belief in the transformative power of Connected Experiences in media and content.

“As holding companies grapple with consolidation, REBORN’s independent agility and vision for innovative capabilities position it perfectly to disrupt the market. I’m incredibly excited to return to Australia and build the capabilities with REBORN, delivering truly connected experiences that foster fandom and build immersive experiences that connect brands to culture.”

Norrish’s impressive global tenure includes FOX Entertainment in Hollywood, where he served as Vice President of Strategic Creative Partnerships, orchestrating high-profile brand collaborations for iconic IP such as MasterChef, Masked Singer, and LEGO Masters, and notably launching an interactive primetime game show on FOX Network for Pepsi starring Jason Biggs (American Pie Franchise) called Cherries Wild.

Before that, he was Vice President of Content at Carat North America, where he crafted award-winning content and innovative partnerships for Microsoft and XBOX.

His extensive experience recently included Head of OMD Create EMEA, where he relaunched its social, content and partnership capabilities and delivered exponential growth for the region.

This diverse background positions him to introduce innovative new models, creative collaborations, and cutting-edge partnership expertise, enabling REBORN to offer nimble, connected solutions that truly differentiate its client work.

Top image: Nate Norrish

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The Perth Bears have appointed Katie Roberts as the club’s inaugural General Manager of Commercial, as the new West Australian club NRL builds its foundation team.

Roberts joins from Racing and Wagering WA (RWWA), where she spent more than seven years leading marketing, sponsorship and digital initiatives across TABtouch and Racing WA.

With more than 25 years of experience across sport, wagering, media and retail, Roberts will work with Perth Bears CEO Anthony De Ceglie to establish the commercial and community frameworks for the new club.

De Ceglie said: “Katie’s track record of driving growth, building high-performing teams, and fostering strong community connections makes her the ideal leader to drive the Bears’ commercial strategy.”

“She will be instrumental in shaping the fan experience, growing membership, and building partnerships that will help establish the Bears as a powerhouse in the NRL.”

Roberts said the opportunity to be part of the Bears’ foundation team was too special to pass up.

“It’s a rare privilege to help create a sporting brand from the ground up,” Roberts said.

“We’re not just launching a team; we’re building a community that will inspire pride and passion for years to come.”

The Perth Bears, announced earlier this year, are on track to become Perth’s newest professional NRL team, representing a significant expansion for rugby league in Western Australia.

With Roberts leading the commercial arm, the club is now well-positioned to attract top-tier sponsors, grow its membership base, and engage a new generation of fans.

Top image: Katie Roberts

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HubSpot has launched a new marketing framework to help businesses grow in the era of AI-driven search, where more than 60 per cent of Google queries now end without a click.

Unveiled at INBOUND 2025, the new framework, dubbed Loop Marketing, is HubSpot’s answer to a fundamental shift in how customers discover and engage with brands online. With the rise of AI overviews, large language models (LLMs), and platforms like ChatGPT and Gemini answering questions directly, traditional digital marketing funnels are breaking down.

“The old marketing funnel assumed customers would come to you. Now the funnel isn’t flowing, and the old playbook is broken,” said Kipp Bodnar, Chief Marketing Officer, HubSpot. “Loop Marketing is fundamentally different. It meets customers everywhere they are, uses AI to personalise each message at scale, and turns every interaction into a learning opportunity that makes the Loop stronger.”

Four stages of the Loop

Loop Marketing consists of four key stages:

• Express: Define brand tone, values and customer understanding before using AI. Metrics: content speed and cost.
• Tailor: Use AI to personalise messaging at scale using unified data. Metrics: channel-level click-through rates.
• Amplify: Distribute content across platforms where people — and AI — are searching. Metrics: conversion rate, AI visibility, citations.
• Evolve: Rapidly iterate using AI insights. Metrics: number of leads and experiment volume.

HubSpot claims that businesses implementing the Loop methodology internally have seen an 82 per cent increase in conversion rates. AI-generated traffic reportedly converts 4.4 times better than traditional search traffic.

New AI tools for human-AI teams

Alongside Loop Marketing, HubSpot announced over 200 AI-powered product updates aimed at marketing, sales, and service teams.

Highlights include:

• Data Agent: Analyzes CRM and other business data to answer questions and enrich records.
• Customer Agent: Handles customer inquiries and lead qualification across channels, resolving over 65 per cent of issues automatically.
• Breeze Assistant: Supports daily tasks, content creation, research, and meeting prep.
• Custom Assistants: AI teammates trained on unique company data and processes.

Kat Warboys, Senior Marketing Director, APAC, said: “Australian businesses know they need to adopt AI, but the real challenge is making it work for their bottom line. Our new products are designed to break down these barriers.”

According to HubSpot, businesses with connected systems are seven times more likely to succeed with AI implementation and six times more likely to significantly outperform their competitors.

For more information on the framework, visit hubspot.com/loop-marketing. To explore the latest AI updates, visit the September 2025 Spotlight page.

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Yates has launched Click & Grow, a new garden care system, with the creation of the National Gardening League (NGL) – a campaign turning lawn care into a competitive national sport.

The campaign, developed with Howatson+Company, positions Click & Grow as the “Official Equipment” of the NGL, supported by an AI-powered web app that scores lawns based on growth, consistency, and greenness.

Users are ranked on a national leaderboard, competing for $10,000 cash and a Championship Green Thumb ring.

“Australians love two things: sport and lawns. By combining the two, the National Gardening League makes lawn care fun, competitive, and accessible,” Sabrina Hill-Bailey, Head of Integrated Marketing, Yates Australia, said.

“Powered by our new Click & Grow System, it’s designed to inspire a younger audience and novice gardeners who want to get started but need a nudge – and what better motivator than glory and bragging rights?”

Gavin Chimes, Chief Creative Officer, Howatson+Company, said: “Gardening in Australia is already an extreme sport. Torrential rain, searing heat, Jumanji- like bindis, weeds, possums and more.

“With the National Gardening League, we’ve given it the platform it deserves. All while showing Yates’ Click & Grow is the ultimate equipment for it all.”

The AI technology was built by Howatson+Company’s Data and Technology team, enabling consistent lawn refereeing nationwide.

The NGL will roll out across TV, OOH, radio, digital, social, and in-stadium activations during the NRL and AFL finals, with sports-style coverage and commentary.

Credits
Brand: Yates Australia
Group Capability Director, Brand and Digital: Antoinette Tyrrell
Head of Integrated Marketing: Sabrina Hill-Bailey
Senior Integrated Campaign Manager: Anique Ballesty
Content Manager: Jamie Cother
Digital Marketing Manager: Sam Bochiwal
Horticultural Communications Manager: Angie Thomas
Agency: Howatson+Company
Group Managing Director: Renèe Hyde
Client Partner: Sophie Sykes
Senior Business Manager: Eddie Moult
Executive Planning Director: Georgia Pritchard
Chief Creative Officer: Gavin Chimes
Executive Creative Director: Jeremy Hogg
Creative Director: Simon Friedlander
Copywriter: Madeleine Semit
Senior Art Director: Huei Yin Wong
Senior Producer: Caitlin Perz
Senior Lead, Sound & Music: Shane Vancuylenberg
Senior Editor: Fraser Kelton
Chief Data & Technology Officer: Hoàng Nguyễn
Group Head of Digital: Anna Boucaut
Head of Experience Design: Trent Roberts
Lead Digital Producer: Beth Nokes
Engineering Director: Brendan McKenzie
Full stack developer: Bao Luong
PR Senior Account Director: Michael Rossiter
Chief Design Officer: Ellena Mills
Design Director: Trent Michael
Design Director: Reece Lawson
Sydney + 479 South Dowling St, Surry Hills
Melbourne + 88 Chapel St, WindsorDesigner: Jock Price
Studio Lead: Simon Merrifield
Finished Artist: Patrick Rivera

Production Company: Chee Productions
Executive Producers: Matt Chee & Tamiko Wafer
Director & Photographer: Oliver Rose
Props & Wardrobe Stylist: Lucia Arias Martinez
Standby Props: Iwona Lau
Hair & Make-Up: Michelle Cox

Media Agency: IPG Mediabrands
Group Business Director: Mark Dawson
Client Director: Tase Jaycobs Stefkov
Client Director: Michael Wood
Investment Manager: Genevieve Casey
Associate Activations Director: Alex Owsianka
Senior Account Manager: Bec Baldwin

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