Nova has moved early to lock in its 2026 strategy, unveiling a refreshed Nick, Luttsy & Susie O’Neill lineup for 106.9 just as the Brisbane breakfast market prepares for a rare head-to-head reset.

With Survey 7 confirming Nova remains No.1 in breakfast at 13.2, only slightly down from 13.4, the network enters the new year with momentum and a clear incumbent advantage.

Susie O’Neill’s return alongside David “Luttsy” Lutteral and newcomer Nick Allen-Ducat positions Nova with a blend of familiarity and fresh energy.

It’s a move designed to strengthen its hold at a time when listeners are already highly engaged – and when competition is reshaping itself in real time.

ARN resets

Crucially, ARN will reboot its KIIS 97.3 breakfast show at almost the exact same moment, with Craig “Lowie” Lowe stepping into the slot.

This puts both networks on the frontline of a simultaneous relaunch – a dynamic Brisbane hasn’t seen in years.

ARN’s broader expansion adds another layer: KIIS will stretch to five metro markets in 2026, with Adelaide’s Mix 102.3 becoming KIIS 102.3, and Perth gaining a KIIS DAB+ station.

Despite the network’s national push, Brisbane’s breakfast battle remains the cornerstone of its eastern strategy, making the timing of the local overhaul particularly significant.

With Nova holding the stronger ratings footing and ARN debuting a brand-new show, the opening weeks of 2026 will function as a direct test of listener loyalty, marketing muscle and programming clarity.

Nova bets on continuity as 2026 pressure builds

For Nova, the play is as much about signalling stability as it is about refreshing the product.

O’Neill’s return gives the station a strong local identity at a time when audiences may be fatigued by shifting lineups.

Allen-Ducat’s homecoming narrative strengthens the brand’s Brisbane roots, while Luttsy provides the throughline that anchors long-term listeners.

The stakes for both networks are unusually high: two new shows, one market, one timeslot – and one clear ratings leader trying to hold its ground as a challenger regroups.

If the breakfast wars are going to flare, January is exactly when it will happen.

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It turns out Australia’s CMOs aren’t just optimising funnels and refreshing dashboards. They’re also streaming some truly fascinating tunes.

For Spotify Wrapped 2025, a crew of marketing heavyweights let Mediaweek peek behind the algorithmic curtain, and the results are as revealing as any pitch deck.

Shaun Briggs, Director Of Marketing Planning AUNZ, Specsavers

Playlist

‘Smoke’ – The Howl & The Hum
‘Dirt’ – The Howl & The Hum
‘No Calories in Cocaine’ – The Howl & The Hum
‘Godmanchester Chinese Bridge’ – The Howl & The Hum
‘I Wish I Was A Shark’ – The Howl & The Hum

“I am a pretty light listener and more or less only when I’m in the car and our newer car at that! So I think my main reflection is that I drive short distances and don’t get very deep into playlists at all. If you’d asked me I would have said 90’s rock with a listening age of 40 but instead I get Indie Rock and a listening age of 25. Makes me wonder if I am young at heart or trying too hard which being a marketer means both are plausible answers even if one is a lot more likely!”

Nicole Parker, Marketing & Sales Director, Weber

Playlist

‘Birds of a Feather’ – Billie Eilish
‘Dive’ -Olivia Dean
‘Deeply Still In Love’ – Role Model
‘Mona Lisa’ – FINNEAS
‘Wonderwall’ – Oasis

“My top five most-played songs this year reveal two things: I’m definitely a ‘90s girl at heart.
I now live with a teenager who controls the household vibe more than I care to admit.

With Billie Eilish, FINNEAS, Role Model and Olivia Dean on repeat – plus Wonderwall sneaking in to remind me of my youth – it’s a playlist that perfectly captures the chaos of cross-generational music taste. After a year of incredible concerts in Sydney, I’ve decided this mix says I’m equal parts nostalgic, easily influenced, and still pretending I’m cool.”

Larissa Best – General Manager, Marketing – Live Entertainment, TEG

Playlist

‘What It Sounds Like’ – HUNTR/X, EJAE, AUDREY NUMA, REI AMI, Kpop Demon Hunters Cast
‘Soda Pop’ – Saja Boys, Andrew Choi, Neckwav, Danny Chung, KEVIN WOO, samUIL Lee, Kpop Demon Hunters Cast
‘Golden’- HUNTR/X, EJAE, ANDREW NUMA, REI AMI, Kpop Demon Hunters Cast
‘Free’ – Rumi, Jinu, EJAE, Andrew Choi, Kpop Demon Hunters Cast
‘How It’s Done’ – HUNTR/X, EJAE, AUDREY NUMA, REI AMI, Kpop Demon Hunters Cast

“Clearly my 9-year old daughter had a big influence on my Top 5 songs this year. KPop Demon Hunters has been on repeat in our house, in our car and on our TV screen! I must say, after about the 20th listen, it stuck with me too, and I even started playing it when I needed a pep, and my daughter wasn’t around. This year has been a challenging year for many reasons, and HUNTR/X has definitely brought some joy to our house and our neighbours!”

Lucy Jack, Head of Media, Member Marketing & Analytics, HCF

Playlist

‘Master of Puppets’ – Metallica
‘Enter Sandman’ – Metallica
‘Die with a Smile’ – Bruno Mars & Lady Gaga
‘Idea’ – Barrage (white noise)
‘Lose Control’ – Teddy Swims

“My 2025 Spotify Wrapped is all about contrasts: Metallica still rules my morning commute, fueling that adrenaline rush before work, while pop hits bring a mellow vibe on the way home. The best part? This playlist isn’t just mine anymore – it’s evolving with my 5‑year‑old as we move from Wiggles and Frozen to powerhouse vocals and timeless classics (with a modern twist!). Music has officially become our shared soundtrack.”

Laura Halpert, CMO, Allianz

Playlist

‘Alive’ – Pearl Jam
‘Stand By Me’ – Florence and the Machine
I’m With You’ – Avril Lavigne (Of course!)
‘Higher’ – Creed
‘Bring Me To Life’ – Evanescence

“Loads of nostalgia on this list  and proof that while I might have left the 90s behind, the emo heart beats on”

Ruth Haffenden, CMO, Flying Tiger Australia

Playlist

‘Paper Rings’ – Taylor Swift
‘Good as Hell’ – Lizzo
‘0:03’ – Study Boy
‘2 Be Loved’ – Lizzo
‘Good Thing’ – Zedd, Kehlani

“My Wrapped is basically a group project, thanks to two tiny Swifties who treat my phone like it’s their own. That said, Paper Rings is a certified banger, so I’m not mad about it. Lizzo remains my forever hype girl (shoutout to Good as Hell for the daily lyrical pep talks), and Study Boy? That’s the lullaby I’ve played 347 times this year, trying to convince two children that sleep is not, in fact, optional. Once again, Spotify Wrapped read me like a diary I didn’t know I was writing: equal parts grit, girl power, and ‘for the love of GOD, please go to sleep.”

Alexandra O’Neil, Brand Marketing Manager, Women’s Asian Cup 2026

Playlist

‘Daisies’ – Justin Bieber
‘Walking Away’ – Justin Bieber
‘Man I Need’ – Olivia Dean
‘Adore U’ – Sidney
‘Yukon’ – Justin Bieber

“Justin Bieber has been my top artist for a decade now. I’ve never strayed – once a Belieber, always a Belieber. As I’ve grown up, his music has grown with me, somehow always matching the moment I’m in. On the opposite end of the spectrum, Olivia Dean has become my favourite new discovery. Her vibe is effortless, and every song lands.

“The biggest surprise on my list this year, though, is “Adore U.” Originally by Fred again.., it’s the slowed-down Sidney version that’s captured me. It’s the song I’ll be walking down the aisle to in April, so it’s fair to say I’ve played it a lot. Maybe too much, but honestly, I’m just excited.”

Kirsten Hasler, Head of Marketing, IKEA Australia and NZ

Playlist

‘That’s So True’ – Gracie Abrams
‘Chemical Heart’ – Bliss s Eso, Grinspoon
‘The Fate of Ophelia’ – Taylor Swift
‘Be OK’ – Bliss n Eso
‘Elizabeth Taylor’ – Taylor Swift

“My daughter and I are big-time Swifties and have been listening to her latest album on repeat, following Gracie Abrams being the song of the summer earlier in the year. On the other side of the spectrum is another favourite, Aussie Hip Hop artists Bliss n Eso, who released an amazing double album this year featuring some incredible Australian artists. We saw them live and they were so good!”

Holly Dover, Marketing Manager, Uber Eats

Playlist

‘It Feels so Good’ – Matt Sassari, HUGEL, Sonique
‘Beside of Me’ – nimino, Maverick Sabre
‘Sports Car’ – Tate McRae
‘No Broke Boys’ – Disco Lines, Tinashe
‘Lyla’ – Oasis

“Music for me is a way to build energy and hype myself up throughout the day – so not surprising to see songs made for the dancefloor featuring in my top 5. And with the cultural phenomenon that was Oasis coming to Australia this year, the boys from Manchester had to have a feature (albeit a track that, disappointingly for me, didn’t make their tour setlist!!)”

Rosie Rothery, Head of Marketing, AUNZ at Spotify

Playlist

‘Lithium’ – Odd Mob
‘Devotion’ – Lance Savali
‘Sally, When The Wine Runs Out’ – ROLE MODEL
‘Strobe’ – Armlock
‘Small Change’ – DON WEST

“We just flew a chopper over Sydney in honour of Australian dance music… but honestly, local dance is unmatched right now. Just ask my Wrapped. Brisbane producer Odd Mob took out both my top track and top artist, with Kiwi hit-maker Lance Savali’s breakout Devotion close behind. Very on-brand if you consider my listening club: Full Charge Crew (zero chill, confirmed).

“But when chill is the mood, Melbourne duo Armlock deliver. Strobe landed at No.4 for me – as our music editor Joe says, it’s melancholic indie rock that sounds straight off The O.C. soundtrack.

“No.3 was Role Model – courtesy of my little boys who probably shouldn’t be singing about wine yet, and No.5 goes to the deep, dreamy vocals of Manly’s own Don West.”

Tony Broderick, Marketing Leader, Netflix

Playlist

‘JUMP’ – BLACKPINK
‘Abracadabra’ – Lady Gaga
‘WHERE IS MY HUSBAND!’ – RAYE
‘Physical (feat. Troye Sivan)’ – Dua Lipa
‘APT.’ – ROSÉ, Bruno Mars

“Looking at my Wrapped, I would describe my music taste as ‘what your teenage daughter loved nine months ago.’ It’s technically cool, just running slightly behind the curve. Lady Gaga was my #1 artist this year; her entire catalogue got heavy replay in the lead-up to our Wednesday Island activation, and I’m excited to see her live in Sydney soon. K-Pop Demon Hunters was my #1 album—a fact I wish I could blame on my daughter. However, the truth is I created a Spotify Kids account for her ages ago, so that one is all on me.”

Marissa Pace, Chief Marketing & Philanthropy Officer, Guide Dogs NSW/ACT

Playlist

‘Malibu’ – Mumford & Sons
‘I Will Wait’ – Mumford & Sons
‘The Cave’ – Mumford & Sons
‘Wider Mind’ – Mumford & Sons
‘Weird Fishes//Arpeggi’ – Radiohead

“My top songs this year reveal that I have the musical age of a 74-year-old (!) and that I apparently process most of my emotions through banjo music… But seriously, Mumford & Sons dominate the list because they played in Sydney earlier this year, and I also went to their concert in my home city of Montreal. Their music really lifts me creatively, and I love long walks on the beach listening to their latest few albums and looking forward to their next concert in February. Radiohead must be a throwback to my university days… Weird Fishes is a classic for me and a staple in my favourites.

“My top artists make it official that I DO have the listening age of a 74-year-old. Mumford & Sons sit comfortably at number 1 for my apparent love of a banjo, Radiohead adds a splash of introspection, Taylor Swift brings the trends from TikTok (though it does make my stepdaughter cringe), and Elvis proves how much time I spend with my mother-in-law! I think Fleetwood Mac rounds it out nicely with that blend of drama and creative nostalgia… right where I want to be!”

Jimmy Hennessy, Head of Marketing, Untitled Group

Playlist

Little Boy – Brian Eno
Lifetime – Erika De Casier
Be Kind – Annahstasia
Look Out For Me – Turnstile
Eternal Life – Jonny Nash

“Brian Eno and Jonny are my daily ritual: in my ears/head/soul every morning as I settle into the day, Brian’s catalogue is a universe I’ve loved exploring over the past twelve months. Erika de Casier delivers thirty minutes of pure emotions. Independently released (we love!!), shifting into a more trip-hop, downtempo world.

“The closing track Lifetime ties the whole record together with the line, ‘Spent a lifetime looking for you. You have to hear it start to finish to feel the magic properly. Annahstasia has been my standout discovery of the year; I introduced her music to my mum, and we ended up watching her live performances on YouTube together, a moment I now treasure because of her art (bring the tissues for tears).

“And then there’s Turnstile, an overdue dive for me, but one that hit with the same intensity Violent Soho did back in the day. Their record became essential listening, and booking them for the 10th anniversary of Beyond The Valley felt completely natural – seeya in the pit.

“Notably, P!nk and The Veronicas didn’t make the list, there must have been a glitch lol though I’ll make sure there’s still room for the girls next year, we live and learn x.”

Mark Richardson, CMO, Petbarn

Playlist

‘Complex’ – Jonas Rathsman, Josef Salvat
‘Into The Night’ – Tonic Water
‘Garden’ – TEED, Calibre
‘Gem Lingo (ovr now) – Overmono, Ruthven
‘The Fade Out Line’ – Phoebe Killdeer, The Short Straws

“My top tracks are all nostalgia, memory and mood – electronic echoes from past years plus one fading indie moment. Maybe it’s me getting older, or maybe it’s just the world we’re in. Probably both.”

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Maddie Basso is the high-energy executive driving Yahoo’s ‘purple wave’. Whether she’s leading a room of advertisers in a spirited Yahoo yodel or admitting she’d secretly love to be a Kids’ TV presenter, she brings a distinct flair to her role as Head of Yahoo! DSP.

We got together to discuss why the industry is stuck in ‘fight or flight’, the uncomfortable truths about privacy, and why nothing says Merry Christmas like a lightsaber.

Escaping the Privacy Limbo

Mediaweek: It’s been a huge year for you personally with the new job and the IAB board seat. When you look at the industry broadly, what are the things that have changed dramatically for you in the last 12 months?

Maddie Basso: It’s been a big year of change for everyone in the industry, but it’s definitely been a year of growth for all of Yahoo and me within that.

My conversations with clients have changed a lot this year. We went from conversations being all around the new shiny toys, to more about how we win back time to do the things that we need to do, like creativity, innovation, and the things that matter.

The reality is, we’ve also been in a privacy limbo for a really long time. There has been constant back-and-forth over cookies, and at the same time, everyone is aware of the significant privacy reforms coming next year.

It’s no longer credible to act as though these changes aren’t imminent.

MW: That sense of limbo feels very real. Do you think that uncertainty has impacted how teams are planning for the future?

MB: We’ve spent the past year in a constant fight-or-flight mode. Industry turbulence has driven an overemphasis on immediate pressures at the expense of longer-term thinking. Despite widespread discussion about long-term planning, time scarcity has pushed many teams back into short-term decisions and short-term outcomes.

Signs of change are emerging, though. With more breathing room and budgets stabilising, I think the industry is better placed to re-establish a genuinely long-term approach to planning and strategy.

The shiny toys vs. the basics

MW: You mentioned the ‘shiny toys’ just before. What do you mean by that?

MB: I think there are definitely trends in the market, and there are new shiny toys. AI was a new shiny toy this year. It kind of fully flourished in the industry.

But I think AI without governance is the most significant trend, and it risks becoming a distraction. It’s easy to get swept up in the excitement, but without clear frameworks, accountability, and responsible use, it adds more noise than value.

The two biggest commodities in our industry are time and ease, and that’s what clients are looking for. So we’ve definitely leaned into that. Automation and AI can hand back the time we need to innovate, bring new ideas to clients, and move away from rinse-and-repeat strategies.

2026: The year of the ‘sophisticated’ buyer

MW: So looking ahead, what are you expecting to see blow up next year? Or perhaps, what stops mattering?

MB: I don’t think anything is going to blow up and disappear, but I think next year we’ve definitely gone from our infant stage with a lot of things like AI and commerce, and next year will be about how we specialise in them.

Budgets are shifting towards major growth channels, particularly SVOD, CTV, audio, and commerce. These areas have grown significantly over the past year and will continue to accelerate into 2026.

MW: You mentioned commerce specifically. That feels like a space where everyone is trying to stake a claim right now.

MB: Definitely. Experimenting for experimentation’s sake, within retail media and commerce, will matter less. The industry has moved past the exploratory phase, and the impact of this space is now well understood.

The focus will shift to becoming more specialised and leaning into the capabilities and opportunities within retail media and commerce datasets, rather than simply testing them.

Siloed channel planning will also become less relevant. New channels and new players always create the risk of fragmentation, but what truly matters is understanding how all channels work together.

We’re going to see a lot more sophisticated commerce buyers. Teams have come a long way in understanding and applying commerce solutions, but further education is needed to ensure they’re using commerce data in a truly sophisticated way.

Measurement and the human touch

MW: And where does measurement sit in all of this? It feels like an eternal challenge, especially with budgets tightening.

MB: As budgets move into new and emerging environments, it becomes essential to understand the outcomes these channels deliver.

We need strong, end-to-end measurement. With fewer advertising dollars and more pressure to prove outcomes, having really strong first-party data and being able to connect the dots across the full funnel matters more than ever.

Understanding audiences, activating effectively and then measuring through that closed loop will always be essential, regardless of how the industry evolves.

MW: We talk so much about data, AI, and automation. But you’re obviously very people-focused in your leadership. Does the ‘human’ part still matter as much as the tech part?

MB: Absolutely. Human connection is such an important part of me. We have all these new technologies coming in, but they will never take over from human connection.

The human touch is what drives real blue-sky thinking, innovation and meaningful collaboration.

When we genuinely support one another and invest in strong relationships, we lay the groundwork for better outcomes and more impactful work across the industry.

Leaning into the human element is where the magic happens!

A very Jedi Christmas

MW: Before I let you go, I have to ask for a recommendation. Do you have a favourite book, movie, or podcast that’s getting you through the end of the year?

MB: My favourite podcast at the moment is No Such Thing as a Fish. I’m a sucker for fun facts. Listening to that podcast is so good because the amount of random knowledge is perfect for me. I am a pub trivia junkie, so I listen to that podcast, and I am ready to go for trivia.

MW: And screen time?

MB: Well, at this time of year, my family and I always rewatch from start to finish all the Star Wars movies. Because obviously, that’s very Christmas Eve. There is nothing that says Merry Christmas like a lightsaber.

MW: True that.

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Gen Z consumers hate ads but new research reveals insights into the nuances of what it means to earn their attention and what turns them away.

The inaugural I Hate Ads Report examined 1000 responses from Australians aged 14 to 29 about how they engage with, interpret, and respond to certain types of brand messages in an everywhere and always-on environment.

The research, by Student Edge’s full-service research arm YouthInsight and creative agency WeAreDifferent, reveals four key themes: Gen Z hate bad ads ones, young people are rejecting brand messaging that feels forced or artificial, influencers and content creators’ opinions carry weight, cost-of-living is impacting brand love.

According to the report, despite being in constant exposure to content 81% of Gen Z’s say they hate ads and 60% find them intrusive, while 28% want fewer ads overall. The report noted that “it’s not the presence of branded content that’s leading to hate, rather the type of content they’re being served.”

Gen Z’s also have a preference to authentic brand messaging with 40% agreeing that over-polished ads make them trust a brand less. The report said content that feels authentic (56%), teaches something new (50%) and/or shows the ‘behind the scenes’ of a brand (36%) is enjoyed by Gen Z.

Young people also look to content creators (41%), influencers (28%) and media outlets (25%) as their most trusted sources. But the report noted that numbers shift slightly when looking at influence over purchase intent with media outlets (35%), AI (26%) and influencers (14%) driving intent in that order.

Cost of living is also having a big impact on Gen Z’s relationships with brands with 45% saying they want more discounts in the future.

Beyond the financial, young people want more useful information (33%), more creative content (34%) and more funny content (30%). The report recommended brands remain cost-conscious while offering content that informs, entertains and inspires. It also added that brands should be more connected to the world young people live in, the type of content they engage with, and the opinion leaders they follow.

Dr Hande Akman, YouthInsight Research Director, said: “It’s never been harder to capture the attention of young people. Today’s consumer exists in a fast-paced, fragmented and ever evolving media landscape.

“They expect more from brands, and the advertising landscape has never been more saturated. Yet despite this change, often the ways in which brands engage with the next generation feels like it’s from a bygone era.

Akman added: “We see this report as a rallying cry for the industry, hoping it will help brands build more meaningful connections with young people by listening, questioning assumptions, and understanding what really matters to the next generation.”

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The ABC has moved to justify a $45,000 send-off for former managing director David Anderson, telling Senate Estimates the event recognised his three decades at the broadcaster.

The gathering, held in the Ultimo foyer, brought together past and present staff who had worked closely with Anderson.

Chief financial officer Melanie Kleyn told senators the spending largely reflected catering and travel support.

“We had a number of people invited to that event,” she said.

“I think the cost would have extended to catering for the evening. I think we would also have paid for some employees to travel to the event who had worked with Mr Anderson over the years.”

New managing director Hugh Marks said it was a “reasonably appropriate event for an executive that had been at the organisation for a long period of time and had made many contributions”.

Liberal senator Sarah Henderson has asked for a detailed cost breakdown.

Questions around a turbulent tenure

Anderson’s time at the helm included several high-profile challenges.

He was required to give evidence in fill-in radio host Antoinette Lattouf’s unlawful termination case, and his team weathered significant backlash over the ABC’s coronation broadcast in 2023, which drew close to 2000 complaints.

In early 2024, union members passed a no-confidence motion, alleging management had not adequately protected journalists from external attacks.

Announcing his resignation later that year, Anderson said the decision was “not an easy one” but reflected the need for “leadership renewal for the next stage of the ABC’s continued evolution”.

He earned more than $1.2 million annually in the role, which also included serving as editor-in-chief. Marks formally stepped in as his successor in March.

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Paramount Skydance has called out Warner Bros. Discovery (WBD) for “favouring a single bidder” and questioned the fairness of its transaction process as the bidding war with Netflix and Comcast intensifies.

In a letter from its attorneys at Quinn Emanuel, obtained by CNBC, Paramount Skydance said: “It has become increasingly clear, through media reporting and otherwise, that WBD appears to have abandoned the semblance and reality of a fair transaction process, thereby abdicating its duties to stockholders, and embarked on a myopic process with a predetermined outcome that favours a single bidder.

“We specifically request and expect this letter will be shared and discussed with the full board of directors of WBD.”

The letter also highlighted it’s cause for concern following reports by several U.S. media outlets of “the enthusiasm by WBD management for a transaction with Netflix” that called a deal between WBD and Netflix a “slam dunk” while also referring to Paramount’s bid in a negative light.

Paramount Skydance’s letter said: “Additional reporting since the submission of revised bids on December 1 has indicated that WBD’s ‘board has really warmed to’ a transaction with Netflix due to the “chemistry between” WBD and Netflix management teams.

The entertainment company added that they want to “engage in a productive discussion” with WBD “around any actual or perceived issues that it may reflect.”

According to the publication, Netflix was the leading bidder based on how WBD is valuing the offers while Comcast remain disciplined in the company’s offer to not anger shareholders by taking on additional debt and risking its balance sheet.

WBD confirmed with CNBC that it recieved the letter from Paramount Skydance’s laywers and added: “Please be assured that the WBD Board attends to its fiduciary obligations with the utmost care, and that they have fully and robustly complied with them and will continue to do so.”

The publication noted that WBD has requested third-round bids from the bidders due Thursday with the winner announced as early as next week.

Paramount Skydance is looking to buy all of WBD, while Netflix and Comcast want to buy Warner Bros. studios and streaming business – not WBD’s linear TV assets.

See also: Paramount Skydance bid for Warner Bros. Discovery faces off against Netflix and Comcast

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Publicis Groupe is preparing to enter its 100th year in 2026, and the holding company is marking the milestone by revisiting a century of reinvention from its beginnings as a creative shop in Montmartre to its position today as the world’s largest advertising group.

One tradition remains unchanged: the annual New Year wishes. For its centenary edition, the Groupe turned to Publicis Conseil, the agency founded by Marcel Bleustein-Blanchet, to bring the project to life through a blend of AI innovation and live action.

The film draws heavily on the company’s past while signalling the direction of its next chapter, weaving together scenes from Publicis’ history with newly generated imagery shaped by AI tools from across the Groupe.

A lion that never gives up

The film, A Lion Never Gives Up, revisits the moments that have defined Publicis including war, fire, technological disruption and global economic downturns and highlights the resilience that has been consistent across its 100-year history.

Arthur Sadoun, chairman and CEO of Publicis Groupe, said the milestone year arrives with both reflection and a forward view.

“2026 will be a very special year for us, as we end our first century. A century where we have turned a small hot shop from Montmartre into the industry’s largest holding company over the last two years,” he said.

“A century that has seen the Groupe rise from the ashes – sometimes literally – three times and reinvented itself many more. It is this spirit of resilience that has defined us for 100 years, and that is captured in our Wishes: a lion never gives up.”

Sadoun added that the next century will be shaped by AI both creatively and operationally.

“2026 will also be the year when we enter our second century, the beginning of which will undoubtedly be defined by the rise of AI. This film is a human, historical and technological odyssey that blends our best creative minds with our unmatched capabilities in AI production to embody our belief that the future of AI is our people.”

The Groupe has also released a documentary on its history, featuring Elizabeth Badinter, Maurice Lévy and Sadoun.

Inside the hybrid production approach

Publicis describes the film as a hybrid project that blends live action with generative AI to reconstruct historical scenes at scale.

One quarter of the film is live action, while the rest was created using GenAI 2D and 3D imaging, supported by photos, film and documents from the company’s archives.

To assemble the visuals, Publicis Conseil and Prodigious Paris used a catalogue of more than 4,500 assets across 150 shots.

AI prompt artists and archival specialists worked to source, manage and label materials, while also producing new images to fill historical gaps.

Unlike a traditional production pipeline, the AI-led workflow allowed each shot to be regenerated or re-edited at any time, keeping the creative process open until the final stages.

Production partners and creative credits

The film was created by Publicis Conseil, with production by Prodigious Paris.

Publicis Conseil leadership:

Marco Venturelli – Global CEO/CCO Leo, CEO/CCO Publicis Conseil, CCO Publicis Groupe France
Agathe Bousquet – President, Publicis Groupe France and President, Publicis Conseil
Alexis Ben Behe – Executive Creative Director
Maud Robaglia – Creation Director
Gurvan Prioul – Creative & UX Design Director
Hamza Ben Maadoum – Junior Art Director

Prodigious Paris:

Christopher Thiery – CEO
Caroline Petruccelli – Managing Director
Yann Dubois – Executive Producer
Cédric Herbet – Post Producer
Nico Vogel – VFX Creative Director
Nicolas Loir – Director of Photography
Damien Perrolaz – Sound Operator
Marie Caron – Production Director

Sound production was handled by Prodigious, with Martin Sumeire as producer and KOUZ overseeing mix and sound design.

The accompanying documentary, L’avenir est l’affaire de Publicis, was directed by Stanislas Valroff and produced by Eddy Story. It was filmed at Prodigious’ XR Studio.

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Australian music festival Spilt Milk has announced its roster of brand partners ahead of the 2025 single-day festival in Ballarat, Perth, Canberra and the Gold Coast.

Spilt Milk, presented by Kicks Entertainment and Live Nation, features a line-up of international and Australian artists, including Kendrick Lamar, Doechii and Sara Landry.

The festival returns to Ballarat on December 6, Perth on December 7, Canberra on December 13 and the Gold Coast on December 14.

This year, Spilt Milk welcomes a suite of brand partners, including Red Bull, Smirnoff, Vodafone, Coopers, American Apparel, Jim Beam, Liquid IV, Rimmel London, Schwarzkopf Got2b, White Claw, Platypus and Transport Accident Commission.

Each partner will run activations to engage Australia’s next generation of festivalgoers.

The brand partners

Red Bull will unveil the Red Bull Capsule, a high space with DJ sets, signature Red Bull drinks, an outdoor zone and exclusive Spilt Milk merchandise.

Smirnoff’s Guilty Pleasures activation creates a fun, judgment-free space for people to dance, scream the chorus and live their best cringe-core life.

Vodafone was the first brand to partner with Spilt Milk this year, giving its customers exclusive pre-sale access and the chance to win a ticket upgrade.

Coopers is hitting Spilt Milk with Finders Coopers, providing roaming bar service of their full-strength lager cans.

American Apparel joins as the presenting partner of the festival app, keeping fans connected, prepared and in the loop from first act to final set. They’re also the official merch supplier.

Jim Beam is back to bring punters and their mates together through the ‘Jim Beam Mates Confessional’, where festivalgoers can score prizes and instant VIP upgrades.

Liquid IV will keep festivalgoers hydrated with new flavours in each city.

Rimmel London returns as the official make-up partner, inviting festivalgoers to their London bus for complimentary makeovers, product drops and a DJ.

White Claw is serving icy seltzers, DJ sets and a place where friends can catch up.
NESCAFÉ Espresso Concentrates is spilling the milk in Ballarat and Canberra, serving up chilled coffee to help festivalgoers cool down.

As the official footwear retail sponsor for Spilt Milk, Platypus Kicks Club members will have the chance to win VIP tickets by shopping the edit in-store and online.

The Transport Accident Commission’s Vanessa bus will debut as ‘Vanessa’s Place’, a festival share house at Ballarat, where the focus is on giveaways and safer choices on the road.

Gen Z demand shaping Spilt Milk

The 2026 partner line-up leans into the values and expectations of Gen Z, with this audience shaping the festival’s identity and driving year-on-year demand.

According to Live Nation’s latest ‘Love Song’ study, 92% of Gen Z crave in-person experiences, and nearly 88% say music is central to their happiness and sense of identity.

Kristy Rosser, senior vice president at Live Nation ANZ, said Spilt Milk is a celebration of music, community and creativity.

“Our partners are integral to the way audiences engage with the festival, both in person and online,” she said.

“We know Gen Z value real-life experiences that are both authentic and relevant, so our goal is to create spaces where brands can connect with fans memorably.”

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Ask Reanna Browne what a futurist actually does, and she doesn’t talk about crystal balls. She talks about agency.

Speaking on The Growth Distillery’s Rules Don’t Apply podcast at SXSW Sydney, Brown told host Dan Krigstein her job starts with shifting how people think about tomorrow so they can move differently today.

“I help people change how they think about the future,” she said. “Because when you change how you think about the future, it changes how you act in the present.”

Browne said the second part of her work is helping people make sense of change so they can actually act on it. She explained that good futures work isn’t about managing change or predicting it, but about paying attention to what’s shifting around us and using those insights to expand the choices available today.

“I think good futures work is about change. It’s not managing it, it’s looking at what’s changing around us. But it should be in service of action and widening choices available to us today,” she said.

Part philosopher, part provocateur, Browne is less interested in getting the future “right” than in helping leaders stop feeling overwhelmed and start taking small, deliberate steps.

Why the future needs to start with health

When Krigstein asked what signals she was paying attention to, Browne didn’t start with AI models or the metaverse. She started with health.

“There are fundamental changes that are happening in health, and we can’t escape them,” she said. Working on the future of work with one organisation, she keeps repeating the same line: “We have to centre health in that conversation.”

“In Australia, at least 50% of people have a chronic illness. You overlay mental health. You overlay caring responsibilities, you overlay women’s health, you overlay disability,” she said, adding that every person’s experiences and needs are “fundamentally different”.

For Browne, workplaces are no longer separate from physical and mental health – they’re one of the main sites where population health plays out.

“Younger workers are expecting workplaces to provide health infrastructure for their mental health,” she said.

AI as both tech and belief system

None of that means she ignores technology. But Browne is wary of how AI can dominate the conversation and distract from more foundational issues.

“I think AI and digital technology are both a technology and an ideology,” she said. “I find it increasingly hard to untangle.”

“There are some amazing things that are happening in that space, which is really exciting, especially in the health sector. At the same time, there is a lot of hot air.”

Browne points to early and uncomfortable signals like “AI-induced psychosis” as examples of the kinds of realities we need to talk about, even if they make for “bad dinner guest” territory.

The politics of who gets to imagine the future

One of Browne’s core concerns is not just what futures we talk about – but who gets to talk about them.

“I always say that the future doesn’t actually exist. There are no future facts because it hasn’t actually happened yet,” she told Krigstein.

“So when we are talking about the future, all we are talking about is two things: either ideas and images that people have about the future, or data on what’s changing now and what’s changed. And then projecting that out with a probability.”

Her provocation is simple: “Whose images are they? Who gets to talk about the future? Who gets to talk about the future of work?”

“Those with the loudest voice get to shape what we think it is,” she added. “And that’s something I’m really agitating that we start having more questions around.”

Letting go of prediction, focusing on the ‘next right move’

For leaders used to 10-year visions and transformation decks, Browne’s stance on prediction is disarming.

“Part of the job for me is helping people shift away from the belief that we have to get the future precisely right,” she said. “Prediction is one way to navigate the future and uncertainty. I just don’t think it’s really a useful one.”

“It reduces our sense of agency to act in the present because the future never arrives, because we are always in the present.”

Instead, she focuses on what she calls “small bits in a long game” – noticing patterns, asking “so what?” and “now what?”, then taking one concrete action.

“I have a little three-strikes rule. The third time I hear something, I start paying attention,” she said.

“Then asking the questions, so what, what does that mean for me… What are the consequences? And then saying, Now what? What might I do come Monday?”

The aim is “shared directionality” rather than fake certainty.

“The job is to find shared directionality. And then to come back to the present and say, what is the next right move? And how can insights about what’s changing actually widen the choices available to us?”

Nervous systems, surveillance and why we ‘know enough to act’

Browne links all of this back to nervous systems – for kids, workers and leaders.

“How do you help your kids balance their nervous system?” she asked, when the broader culture is increasingly dysregulated. She spoke candidly about her own “severe mental health issues” and framing them as “chronic nervous system dysregulation”, not personal failure.

That belief also informs her alarm about “very pervasive surveillance” and “boss wear technology” in workplaces – systems that track everything from log-ins to conversations and can themselves become a health risk.

Yet even here, she finds hope in resistance – from gig workers “using the algorithm playfully to accept higher value rides” to young people choosing to go offline.

“Not to reduce this down, but I often feel in my own self and society, we know enough to act,” she said. “We intuitively know what things would serve us well and what things would probably not serve us well.”

Her future’s pitch, in the end, is less about 2050 and more about Monday. Not predicting the perfect world, but regulating ourselves, widening our choices, and choosing the “next right move” – one small bit at a time.

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