Television remains the undisputed king of election advertising in Australia, with parties spending more than $54 million on linear and broadcast video-on-demand services (7Plus, 9Now, 10Play, SBS On Demand, and Binge/Kayo) over five weeks of campaigning in the 2025 Federal Election.

According to video measurement firm Adgile, television platforms accounted for a significant 74% of all video revenue during the campaign.

Clive Palmer’s Trumpet of Patriots took the lion’s share of the media spend, pouring more than $24.1 million into broadcast and online ads.

Labor wasn’t far behind, investing $24 million, while the Coalition’s total spend reached $20.7 million. The Greens, comparatively, spent $4 million in an effort to engage voters.

While traditional television channels dominated the ad spend, YouTube saw an impressive $17 million invested in political advertising, with minor parties and independent candidates focussing their spending on the platform.

This marks a clear trend of political players adapting to the evolving digital media landscape while still banking on the broad reach of television.

Targeted advertising emerges as a game-changer in 2025

The 2025 election also witnessed the growing prominence of geotargeting and addressable advertising, with parties using hyper-targeted ads to zero in on key electorates.

Shaun Lohman, Adgile’s Founder and Managing Director, highlighted the new level of precision with which ads were delivered.

“No matter how you cut it, television remains the most powerful channel for reaching voters at scale,” he said. “But what’s new this election is the scale and sophistication of geotargeting and addressable advertising.”

Lohman explained that Australian political campaigns have increasingly mirrored the strategies seen in U.S. elections.

The use of finely-tuned targeting allowed ads to be tailored to specific voter groups across streaming platforms such as 7Plus, 9Now, 10Play, SBS On Demand, Foxtel apps, and YouTube. In particular, this shift allowed candidates to reach a far more granular audience than ever before.

Palmer’s campaign, known for its all-out media blitz, exemplified this approach, deploying ads across multiple channels without targeting just one group of voters.

However, Labor and the Coalition weren’t far behind, each spending considerable sums on TV to keep pace with Palmer’s aggressive campaign. Interestingly, Labor’s strategy in this election differed from past campaigns, where parties typically held off on significant spending until the final weeks.

In 2025, they took a more aggressive early approach with policy-driven content, keeping a steady flow of TV ads to engage voters as soon as the campaign kicked off.

Labor’s early push and the shift in election advertising strategy

Adgile’s analysis also shed light on the nature of the political content itself. Labor, according to Lohman, was proactive in airing policy announcements early in the campaign, particularly highlighting issues like tax cuts.

“It is interesting that Labor went big early on TV and video with policy messaging,” Lohman said. “They were spending consistently throughout the five weeks of the campaign, especially in the early weeks when they had clearer air.”

In contrast, the Coalition relied more heavily on attack ads, which were ramped up later in the campaign, with policy spending being delayed until the final stretch.

This divergence in media strategy could have played a role in the increased pre-poll voting that has become a major feature of recent elections.

“The significant pre-poll vote has had an impact on the final results,” Lohman noted.

“This represents a strategic change in the media strategy compared with previous elections. Labor broke the traditional spending model by pushing out policy ads early, whereas other parties typically reserve their big ad spends for the final week.”

The rise of geotargeting and the future of political ads in Australia

This shift towards more precise targeting signals a broader change in the landscape of political advertising.

The increasing use of geotargeted video ads to reach voters by electorate, combined with sophisticated digital strategies, is reshaping how Australian political campaigns approach media buys.

As Adgile continues to track these shifts, it’s clear that the evolution of advertising in Australian elections is far from over.

Adgile itself is at the forefront of these changes, with its video measurement and analytics service helping brands such as Suncorp, Optus, and Sportsbet navigate this complex media landscape.

As the political parties continue to invest heavily in these advanced targeting strategies, media buyers and political strategists alike will need to adapt to a world where digital and linear media are both integral to the path to victory.

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Total People TV Ratings

ABC’s Australia Votes 2025: Election Results Live recorded a total TV national reach of 4,092,000, a total TV national audience of 2,364,000 and a BVOD audience of 236,000.

ABC’s Australia Votes 2025: Election Night Live recorded a total TV national reach of 3,833,000, a total TV national audience of 2,006,000 and a BVOD audience of 194,000.

ABC’s Australia Votes 2025: The People’s Decision recorded a total TV national reach of 3,200,000, a total TV national audience of 1,992,000 and a BVOD audience of 188,000.

Seven’s 7News: Australia Decides: The Results Live recorded a total TV national reach of 2,782,000, a total TV national audience of 580,000 and a BVOD audience of 47,000.

ABC’s Australia Votes 2025: Polls Closing recorded a total TV national reach of 2,704,000, a total TV national audience of 1,093,000 and a BVOD audience of 105,000.

People 25-54

ABC’s Australia Votes 2025: Election Results Live:
• Total TV national reach: 1,679,000
• National Audience: 1,030,000
• BVOD Audience: 129,000

ABC’s Australia Votes 2025: Election Night Live:
• Total TV national reach: 1,515,000
• National Audience: 855,000
• BVOD Audience: 106,000

ABC’s Australia Votes 2025: The People’s Decision:
• Total TV national reach: 1,317,000
• National Audience: 845,000
• BVOD Audience: 101,000

ABC’s Australia Votes 2025: Polls Closing:
• Total TV national reach: 1,101,000
• National Audience: 478,000
• BVOD Audience: 58,000

Seven’s 7News: Australia Decides: The Results Live:
• Total TV national reach: 984,000
• National Audience: 236,000
• BVOD Audience: 27,000

People 16-39

ABC’s Australia Votes 2025: Election Results Live:
• Total TV national reach: 924,000
• National Audience: 573,000
• BVOD Audience: 65,000

ABC’s Australia Votes 2025: Election Night Live:
• Total TV national reach: 843,000
• National Audience: 491,000
• BVOD Audience: 54,000

ABC’s Australia Votes 2025: The People’s Decision:
• Total TV national reach: 703,000
• National Audience: 454,000
• BVOD Audience: 50,000

ABC’s Australia Votes 2025: Polls Closing:
• Total TV national reach: 580,000
• National Audience: 272,000
• BVOD Audience: 30,000

ABC’s Australia Votes 2025: Election Latest:
• Total TV national reach: 500,000
• National Audience: 234,000
• BVOD Audience: 23,000

Grocery Shoppers 18+ TV Ratings

ABC’s Australia Votes 2025: Election Results Live:
• Total TV national reach: 3,184,000
• National Audience: 1,868,000
• BVOD Audience: 201,000

ABC’s Australia Votes 2025: Election Night Live:
• Total TV national reach: 2,926,000
• National Audience: 1,559,000
• BVOD Audience: 165,000

ABC’s Australia Votes 2025: The People’s Decision:
• Total TV national reach: 2,565,000
• National Audience: 1,603,000
• BVOD Audience: 160,000

Seven’s 7News: Australia Decides: The Results Live:
• Total TV national reach: 2,116,000
• National Audience: 444,000
• BVOD Audience: 37,000

ABC’s Australia Votes 2025: Polls Closing:
• Total TV national reach: 2,083,000
• National Audience: 846,000
• BVOD Audience: 90,000

Data © OzTAM and Regional TAM 2025. Not to be reproduced, published or communicated (electronically or in hard copy) in whole or in part, without prior written consent of OzTAM and Regional TAM.

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Justine Cullen, the Editor-in-Chief of InStyle Australia, has shared a message on Instagram, marking the end of her tenure as with the title saying, “The Autumn print issue (on sale now) will be the last made by me and my team.”

In her post, she reflected on the journey of relaunching InStyle in Australia, expressing gratitude for the opportunity to lead the brand and for the support of her team and readers.

Cullen was the Editor of Instyle Australia when True North Media Australia re-launched the title in 2022.

Records published by ASIC show that on April 8, 2025 there was a notice to appoint a restructuring practitioner to True North Media Australia.

Cullen’s post garnered a huge reaction on Instagram with many wishing her well in her next endeavour. It’s not known what she will do next but she said, “It’s a good stage of life to open your eyes and look around.”

Throughout her career, Cullen has been a prominent figure in the Australian media landscape, previously holding editorial positions at Shop Til You Drop, Cosmopolitan, and Elle Australia.

True North Media have not yet commented.

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Amber Abbott has been promoted as CEO of Havas Australia’s creative communications agency; One Green Bean.

She steps up from the role of managing director, under her leadership the agency has had a period of sustained and significant growth.

The new role will see her assume extended responsibility for the management and strategic direction of the agency. She will work One Green Bean’s leadership team, Managing Partner Lauren Bailey and Head of Content ,Laura Byrne, to take the agency to its next phase of growth with a focus on digital innovation, world-class creative thinking, and strategic partnerships and collaborations.

Her appointment comes as One Green Bean enters its 18th year since it began in Australia helping brands earn attention through creativity that drives meaningful conversation – including enduring 10- and 11-year client relationships with Nike and Meat & Livestock Australia respectively. Under Amber’s leadership, ogb has recently welcomed a raft of new clients to its roster that includes Pinterest and Tourism & Events Queensland.

Abbott has been with the agency for 11 of those 18 years, progressing from Account Director to hold senior leadership positions including Head of Client Services and General Manager before being appointed Managing Director in January 2023.

“The last two years has seen some of the strongest growth and commercial success in the history of ogb. This has been coupled with an outstanding culture that puts people and creativity at its core,” said James Wright, Group CEO at Havas Creative Network ANZ and Global Chair Havas PR Network.

“I believe the agency is well set for this to continue with Amber at the helm. She is one of the most dedicated, organised and committed leaders I have ever worked with, and with her strategic mindset and eye for a great idea she has all the attributes you want in a CEO. More than that she is just a great person to be around and partner with as we continue to grow Havas in Australia.”

Meanwhile, Abbott described the full circle ogb career development she aims to replicate for her team. She said: “After over a decade with ogb, it is an honour to take on this role. We’ve entered an exciting new era. We’re still the feisty, boutique agency we were all those years ago – but with the reach, reliability and rigour of a global network behind us. That is a powerful combination.

“Starting my career at ogb in 2014 was like boarding a rocket ship – fast paced, high pressure. But learning from the best in the business and working on some of the world’s most prestigious, courageous and complex brands quickly taught me that leaning into uncomfortable moments allows you to prove what you’re made of, and expedite your learning and growth.

“As CEO, my mission is to foster an environment that allows my passionate, talented team to thrive too – to find and seize uncomfortably exciting opportunities that push them to be their best selves, while providing the flexibility, training and personalised support to help them find the right work/life balance that is absolutely essential.

“I want to inspire my team to be present in their life beyond work, pursue passions and remain consciously curious – because the life bit makes you fundamentally better at the work bit. Not just for our careers – but for our client partners as well.”

Since its inception, ogb has grown into a multi-award winning, ideas-centric agency with offices in Sydney and London, helping brands tell their stories through meaningful ideas and creativity that drives conversation and earns attention from the people that matter.

Top image: James Wright and Amber Abbott

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oOh!media has achieved a significant milestone with the win of Transurban’s Melbourne and Brisbane motorway contracts, further solidifying its leadership in Australia’s large-format billboard sector.

This deal, which follows what oOh!media describes as “the most competitive Out of Home tender in the past 25 years”, will see the agency take over 42 premium motorway sites, 22 of which were previously held by incumbent JCDecaux.

The win positions oOh!media as the undisputed leader in both Melbourne and Brisbane markets, further expanding its nationwide large-format advertising footprint.

With this new portfolio, oOh!media now holds the most comprehensive collection of iconic digital and classic billboards, strategically located along key motorways, highways, and arterial roads in all five capital cities, as well as the 30 largest regional markets.

These include the crucial CityLink, Southern Link, and Western Link in Melbourne, a 22-kilometre stretch connecting major freeways and landmarks like the Tullamarine Freeway and Melbourne’s CBD.

In Brisbane, oOh!media is significantly expanding its presence with 13 new digital billboards and eight premium classic sites, adding to its already strong position in the city’s busiest corridors.

Strategic move to cement market leadership

Robbie Dery, oOh!media’s Chief Commercial Operating Officer, described the deal as a pivotal step in the company’s strategy to maintain its dominance in premium large-format advertising.

“Securing the Transurban portfolio is a monumental win for oOh! and a pivotal step in our strategy to deliver the most comprehensive, premium large-format advertising network in the country,” said Dery. “It strengthens our leadership in metro markets and ensures advertisers have access to the highest quality digital and classic assets along Australia’s busiest motorways.”

Mark Fairhurst, oOh!media’s Chief Revenue Officer, emphasised that this win marks a significant shift in market share, underlining why oOh!media should be the go-to partner for advertisers.

“With new premium sites across Australia’s busiest motorways in Melbourne and Brisbane, we’re providing brands an unrivalled opportunity to be unmissable at key moments in the daily journey of commuters,” said Fairhurst. “It’s not just about reach, it’s about delivering consistent, high-quality locations that drive results.”

Transurban partnership signals new opportunities for advertisers

The partnership between oOh!media and Transurban is poised to enhance the commuter experience while delivering greater value to advertisers.

Simon Harwood, Head of Commercial for Transurban Australia, expressed excitement about the collaboration, noting that it underscores their commitment to providing safe, reliable, and high-quality assets across the motorway network. “By leveraging oOh!media’s extensive expertise and innovative approach, we are confident that this partnership will enhance the commuter experience and deliver value to our stakeholders,” said Harwood.

This agreement follows oOh!media’s earlier win of the Eastlink Motorway contract in Melbourne, which added 13 new large-format sites.

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As the culinary world continues to grapple with the possible ramifications of the recent recipe plagiarism scandal involving Bake with Brooki Brooke Bellamy and RecipeTin Eats’ founder Nagi Maehashi, award-winning cookbook author and broadcaster Alice Zaslavsky has added her voice to a complex and often misunderstood issue.

Speaking to Mediaweek, Zaslavsky, who hosts ‘A Bite To Eat With Alice’ on the ABC, explained that while food is inherently iterative and collaborative, there’s a clear distinction between drawing inspiration and taking without acknowledgment.

“Ownership is a very broad space in the cookery world,” Zaslavsky explained. “It’s an honour to have somebody take a recipe and riff on it… but it’s another thing entirely to include that riff in a cookbook and not attribute your inspiration.”

In the food writing community, she noted, it’s an unwritten rule to credit sources of inspiration, whether that comes from another cookbook, a memorable meal out, or a home-cooked dinner at a friend’s place. “It also offers context for your audience,” she added, “and helps tell the story behind the recipe.”

Copyright protects expression, not the recipe itself

Zaslavsky was clear about what copyright can and can’t do for recipe authors in Australia.

“There is no copyright law for the recipe itself,” she explained. “The copyright in our books is for the text, it’s the tone of voice, the headnotes, the working out. Not the recipe as a concept.”

According to the Australian Copyright Council, what’s protected is the original expression of the recipe (such as explanatory content and layout), but not the idea of boiling an orange for a cake or, say, the structure of a caramel slice.

That’s why, Zaslavsky argues, context matters so much. “The thousands of words that food blogs have before the recipe, that’s your time to indemnify yourself and highlight where your inspiration’s from. The more detail you give, the more you’re saying: I’ve done my research, and here’s how I got to this result.”

Lived experience is the real differentiator

For Zaslavsky, what separates professional food writing from casual content creation is the personal story that underpins every dish. “So many cookbooks now are about someone’s lived experience,” she said.

“There’s always a reason why you’re making a caramel slice in a certain way. Maybe you always thought it could be more caramel-y, so you create a burnt caramel version. That thinking, that journey, is part of what makes a recipe your own.”

Even subtle decisions, like the choice to use sumac or stick to pantry staple, signal an author’s voice and culinary ethos.

“Each choice is like an algorithmic equation you’re making as a recipe writer,” she explained. “Do I stick to the authentic? Do I modernise? Do I simplify? That’s where your voice lives.”

Cookbook development isn’t one-size-fits-all

The process behind publishing a cookbook can be far more complex than consumers realise.

Authors may develop some recipes on their own and outsource others to developers due to time constraints or project scope. But that collaboration also introduces ethical considerations.

“Let’s say you’re a first-time author and more of an online person,” Zaslavsky said. “You send a recipe you love to a developer and say, ‘Something like this.’ If that developer is unscrupulous and under pressure, they might lift it too closely from the original source.:

The benchmark for originality in some circles is 15% change – a vague and problematic metric that Zaslavsky believes oversimplifies the nuance behind food creation.

“In the end, what you want is actual ownership, not just a name slapped on a dish, but a sense that you were involved in how that dish came to be.”

What AI can’t replicate

In the age of AI-generated cookbooks flooding platforms like Amazon, Zaslavsky is wary of how technology is changing the recipe landscape.

“You could ask an LLM (large language model) to write you a cookbook, and it might spit out 100 recipes for an air fryer,” she said. “But what you don’t get is the guarantee of the recipe working. You don’t get the years of lived experience, or the collaborative effort it takes to refine a recipe for real-world use.”

That human intuition is critical. “When you’ve been in the industry a while, you can look at a recipe and instantly know if it’s going to work or not. That’s something AI can’t replicate.”

Credibility and connection still matter

At a time when content can be created and shared faster than ever, Zaslavsky’s message is a timely one for publishers, marketers, and audiences alike: authenticity still counts. Whether you’re a recipe developer, a content strategist, or a brand commissioning a cookbook, there’s real value in a clearly voiced, ethically grounded body of work.

“In food writing, tone of voice is everything,” she said. “You can’t copyright a list of ingredients, but you can build trust through transparency, collaboration, and sharing your process. That’s what readers connect with, and what makes a recipe, and the person behind it, worth following.”

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As independent agencies continue to gain momentum across the media and advertising landscape, narrative around them is evolving.

According to Foxcatcher APAC’s newly appointed head of sales, Karan Kent, and Managing Director Marcus Betschel, the “rise of the independents” isn’t just a trend anymore, it’s a structural shift.

But that rise comes with its own challenges, particularly in programmatic maturity, tech investment, and talent retention.

These were just some of the insights the pair shared with Mediaweek when they sat down for a new episode of Mediaweek Presents… with Natasha Lee.

Foxcatcher APAC’s newly appointed head of sales, Karan Kent, and Managing Director Marcus Betschel sat down with Mediaweek.

“Not a rise but a reality”

Independent agencies, once viewed as underdogs to the global holdcos, have become genuine contenders on pitch lists for major brands, Betschel said.

“It’s not a rise anymore. It’s just viable,” he said. “If there’s a huge pitch with a massive brand, it’s totally viable that there’s not just one but multiple indies on that pitch list.”

For Kent, the appeal of indies is obvious: “They offer something existing holdcos often don’t – agility and genuine care. Independent agencies work with fewer clients, giving them more time and more exposure to senior leadership. Often, the person doing the pitch is the same person running the account.”

That agility, and the emphasis on client intimacy, gender equity and diversity, are why Kent believes the independent model will only continue to grow.

But the pair warn that growth without support can be dangerous.

You can listen here:

Tech gaps and talent risks

While indies offer flexibility, they often lack the internal programmatic muscle or the tech infrastructure needed to scale effectively.

“There’s a growing number of independent agencies,” Kent explained. “They’ve all got specific skill sets, but not all of them have programmatic capabilities. And not all of them have the kind of tech they can plug into their stack to give clients a better solution.”

Foxcatcher frequently partners with these agencies, either acting as a full programmatic trading desk or providing custom tech stack solutions, depending on how far along the agency is on its digital maturity curve.

“Some indies are still at the embryonic stage, and some are halfway through but looking for a change,” Betschel said. “We help build that pathway, whether it’s tech stack design, data strategy, or full trading support.”

The variety of agency maturity levels means that no two engagements are the same.

“It’s so disparate,” Kent added. “You might walk into a meeting with an agency that started off selling radio ads and has no clue what programmatic even is. Then the next day, you’re talking to a client who’s sitting on heaps of first-party data and just doesn’t know how to monetise it.”

The hidden cost of “Fail Fast”

Despite their nimbleness, independent agencies face a structural disadvantage: they often can’t afford to fail.

“The tech journey of ‘fail fast’ doesn’t work when resources are this finite,” Kent warned. “If you burn a big chunk of your budget, talent or time on the wrong platform or the wrong hire, it can lead to stagnation.”

Even larger brands that try to bring programmatic capabilities in-house face similar hurdles. Hiring top talent is expensive and time-consuming, and if the wrong person is brought in, the knock-on effects on team morale and client servicing can be brutal.

“If one of those key hires leaves, you’ve got a big risk,” Betschel said. “It’s not simple to just hire someone new. If the next person doesn’t work out, you’ve lost months, and potentially, clients.”

Kent agreed: “Until you hit a certain scale, it’s a massive cost burden. And even if you do have scale, you’re still left with big questions, what DSP should you use? Is your data GDPR-compliant? How do you pipe it all together? You need the right people to even start asking those questions, and there’s not many of them.”

Foxcatcher’s role: Programmatic agility as a service

Foxcatcher is a demand-side platform (DSP) partner that provides transparent, tailored solutions for clients navigating the complexities of programmatic media buying.

With a strong focus on education, transparency and long-term value, the business works with both direct brands and independent agencies.

Kent, who joined Foxcatcher in April as APAC head of sales, was hired specifically to help scale the company’s regional operations and expand its footprint among independent shops across Australia and Southeast Asia.

“We’re a programmatic partner to a plethora of clients, direct and independent agencies,” Kent explained. “And we see it as our job to provide the kind of support that lets them focus on what they’re great at.”

“Often,” added Betschel, “a client comes to us and says: ‘Here’s what we’ve been doing programmatically, here’s our data – what should we do next?’ Our job is to deliver customised solutions, because there’s no one-size-fits-all approach.”

From bespoke tech development to full-service trading teams, Foxcatcher positions itself as an extension of its clients’ capabilities. Their value proposition is clear: while indies bring the ideas and client focus, Foxcatcher delivers the scale, tech and operational muscle.

“Agility is baked into our service,” Betschel said. “It’s what the market needs – and what we believe in.”

As independent agencies continue to secure bigger briefs and take on larger accounts, the question is no longer whether they can win… but whether they can scale. For many, the difference between thriving and stagnating lies in whether they choose the right partners.

Foxcatcher, with its blend of technical depth and programmatic expertise, is betting that its role as a behind-the-scenes enabler will be more essential than ever in the years to come.

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Seven will premiere its new feature documentary, Cold Chisel: The Big Five-O, to celebrate one of Australia’s most iconic rock bands. The special event will air at 8pm on Sunday, 11 May, 2025 on Seven and 7plus.

Timed to coincide with Cold Chisel’s 50th anniversary, the documentary captures the band’s enduring cultural resonance and charts their journey from pub rock pioneers to national music royalty.

Cold Chisel.

Produced by Beyond Productions in association with Seven, Cold Chisel: The Big Five-O blends live performance with rich archival content. Central to the film is footage from the band’s recent Big Five-0 tour, which drew more than 250,000 attendees across Australia. The broadcast features a standout show at Melbourne’s Sidney Myer Music Bowl, where fan fervour reached fever pitch.

The documentary also includes exclusive interviews and rarely seen photographs, offering deeper insight into the band’s legacy and the songwriting that has defined Cold Chisel’s impact—from Khe Sanh to Flame Trees and beyond.

The production brings together a seasoned creative team. Writer/producer Paul Clarke, who helmed the Logie Award-winning John Farnham: Finding The Voice, returns to the genre alongside director Andrew Lord (Splendour in the Grass), and producers Frank Chidiac and Susanne Morrison (Live It Up: The Mental as Anything Story).

Executive producers Mikael Borglund and Robert Hambling complete the lineup.

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Supermassive has teamed up with Tourism Tropical North Queensland (TTNQ) to launch the Lifetime of Greatness Project for the Great Barrier Reef.

The project, which runs until the end of June, is a global integrated campaign calling for the place of natural significance to be recognised as the first non-human recipient of a Lifetime Achievement Award – the highest environmental honour from the United Nations Environment Programme’s (UNEP) Champions of the Earth Awards.

The independent creative studio the launched the Lifetime of Greatness Project on World Earth Day the Lifetime of Greatness Project is a collaboration of marine scientists, Traditional Owners, tourism operators, schools, councils, and advocates of the Great Barrier Reef.

The voices of the communities of the Reef have aligned with a shared ambition to persuade the UNEP to bestow the award – historically given to a living individual who has demonstrated decades of impact in protecting the earth and its inhabitants – to the planet’s largest living entity, in recognition of a millennia of positive environmental impact that spans cultures, generations and species.

This first-of-its-kind initiative is backed by partners including the Great Barrier Reef Marine Park Authority’s Reef Guardian Councils, Great Barrier Reef Foundation, Tourism and Events Queensland, Tourism Australia, Qantas and Intrepid, and invites worldwide participation, creating a wave of support to shine a light on one of Earth’s most important ecosystems.

The Great Barrier Reef has been described by UNESCO as “a globally outstanding and significant entity” and is an individual so vast it can be seen from space, and so significant it has been considered a teacher, a healer and a provider to Indigenous communities for over 60,000 years.

Jon Austin, Co-Founder and CCO of Supermassive, said: “Environmental leaders like Sir David Attenborough inspire us to learn more and do more for our planet.

“We needed people to learn more and do more for the Great Barrier Reef, and so we set out to celebrate it in a whole new way: as a living champion of the environment; an individual whose ecological and cultural significance, and contribution to global marine science benefits us all.

“What better way of landing the point than by submitting it for the highest environmental honour possible? When we read the criteria for the UNEP’s Lifetime Achievement Award, which recognises ‘individuals who have made a lasting and significant contribution to protecting the planet over a lifetime’, and heard stories from scientists, Traditional Owners and communities about how the Great Barrier Reef – the world’s largest living entity – has protected our planet and its inhabitants for thousands of years, we knew we had a nominee that wasn’t just surprisingly eligible, but incredibly worthy.”

Lani Cooper, Tourism Tropical North Queensland General Manager – Marketing, said: “This campaign is as ambitious as the ecosystem it represents. The Great Barrier Reef is a catalyst for environmental initiatives and this bold nomination repositions it not just as a natural wonder but as a global leader in its own right.

“Working with Supermassive, we’ve created an integrated campaign that blends purpose with creativity to drive global awareness.

“From immersive experiences and strategic partnerships to social and digital storytelling, our aim is to galvanise a worldwide audience around a simple, powerful idea to give the Reef the recognition it deserves.”

In the US, 600 million impressions have already been achieved through a virtual broadcast media tour with Tourism Tropical North Queensland CEO Mark Olsen, and Marine Biologist Dr Eric Fisher, participating in 30 live-to-air media interviews, followed by a radio and podcast media tour with Olsen and Marine Biologist and Master Reef Guide, Natalie Smith.

A 30 second TVC via National Geographic and Disney will reach 1.17 million viewers over the next month, while a media partnership with Conde Nast Traveller runs until the end of May.

In the UK, a 21 metre, two storey high immersive walk-through tunnel takes audiences on a journey of the Lifetime of Greatness Project, reaching almost 1.4M in views per week in the heart of central London, along with a paid media partnership with The Guardian, and another radio and TV broadcast opportunity through Good Broadcast, with host and ex-Paralympian Ellie Simmonds and coverage to over 15 networks including BBC stations.

Europe includes coverage secured from recent in-region famil hosting of top media and partnerships with digital media platforms across Germany and Italy to over 250K readers. In China and Japan, Lifetime of Greatness is running paid digital media and social media activity, along with earned media pitching and influencer partnerships.

Across ANZ, earned storytelling in PR, social media and influencer activity is supported by media placements with The Daily Aus, Australian Traveller and Stuff NZ.

A strategically selected digital OOH billboard has also been positioned at the home of the UNEP Headquarters in Nairobi to increase chances of capturing the attention of key decision makers.

CREDITS:

Client: Tourism Tropical North Queensland
Agency: Supermassive
Production Company: Chisel
Director: Jordan Watton / Emily Mays
Senior Producer: Emma Whitehouse
Photography: Beau Pilgrim
Design: Darren Cole
Social: Swirrl
Digital: Bang Media

Media planning and buying: Dentsu Media

PR:
Global strategy: Supermassive in collaboration with –
Australia & New Zealand: PEPR
USA: Imagination Marketing
UK: Rae White Communications
EUR: Global Spot

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Katie Rigg-Smith, WPP ANZ chief strategy officer, will depart WPP after 26 years with the global media company.

In an internal staff email seen by Mediaweek, Rose Herceg, WPP country president of Australia and New Zealand, commended the now outgoing WPP ANZ chief strategy officer for her contributions to the company and its brands over the decades.

Herceg said: “Katie is strategically brilliant, razor-focused in her thinking, considered and quite simply one of the most thoroughly decent people I have ever met.

“I am very sad to announce that Katie will be leaving WPP. I will miss Katie enormously; I know that all of us will.

“I know she will continue to be a force. The value she provides is immediate and substantive. At a strategist with gravitas and a futurist who reads quantitative data far better than most, I know Katie will thrive.”

Rigg-Smith recalled her career journey with the Group: “I was straight out of university when I started and never in my wildest dreams did I imagine the adventures that would await me for the next 26 years. It has been an absolute blast and I have loved every minute of it.

“I can’t possibly thank every single person who has impacted my career, so I won’t try, but I would like to say a massive thank you to the CEOs (Aimee, PV, Maria, Pippa, Sally, Tom T, BV, Steve, Trisha, Dan, Justin) and the fabulous WPP team (Morag, Tim, Phil, Paul, Brett, Hilary, Lucy, Eva) for all the love, laughs and support in the role over the last 3 years.

“And then there is the force of nature that is Rose Herceg, who has fundamentally changed the course of my career in the best possible way! I am indebted to her for her mentoring, teaching and being the one to challenge me to step into the space of a futurist, with the strategic foresight to pursue this passion going forward. Thank you doesn’t quite sum it up.

“As Rose says I am still here until the end of May, so I hope to say farewell to as many of you as possible before then.”

Katie Rigg-Smith on leadership and career journey

Rigg-Smith’s career began as a media buyer with Mindshare in 1999. She rose through the ranks as National Chief Strategy Officer in 2010 and then CEO in 2013.

She stepped down from the CEO role at Mindshare to the reins as Chief Strategy Officer, Australia and New Zealand at the GroupM parent company working closely alongside Herceg, WPP country president of Australia and New Zealand.

Rigg-Smith will officially wrap up her duties on Friday, 30 May.

Rigg-Smith is known across the industry for her work with clients and pitches, as well as trends presentations, on strategic briefs, on workshops, on keynotes – and on mentoring.

In 2023, she featured on the Mediaweek Academy panel where she discussed having a Leadership/Management mindset.  Rigg-Smith hoped that attendees took away from the discussion that leadership is a journey. “It’s the best way to learn about yourself and how you are when you’re leading others. But it’s also genuinely about bringing out the best in other people,” she said at the time.

Top image: Katie Rigg-Smith

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Vevo has unveiled a series of promotions and appointments as the music video network scales up its APAC operations.

Tim O’Connor has been promoted to Head of Sales APAC and Blair Kelly to Group Sales Manager, alongside the appointment of Alex Trumble as Senior Sales Manager.

The appointments mark an important milestone for Vevo as it continues to expand its presence across the broader APAC region. Under the new structure, O’Connor, Kelly and Trumble will work closely with clients, agencies and brand partners to deepen commercial relationships, drive innovation in premium video solutions and accelerate Vevo’s growth across key South East Asian markets.

O’Connor’s promotion, from Head of Sales ANZ, expands his remit to lead Vevo’s commercial operations across the wider APAC region.

Over the past five years, he has played a key role in growing the ANZ business with exponential revenue and client growth each and every year across that timeframe. In this newly created role, he will oversee sales strategy, client partnerships and team leadership across the APAC region. The role reflects Vevo’s commercial momentum in the region and a sharpened focus on building its footprint in high-growth APAC markets.

O’Connor said of his elevated role: “Vevo has been on an incredible growth journey across APAC and it’s a real privilege to be part of shaping the next chapter. We’re seeing more demand than ever for premium video solutions, and I’m looking forward to helping lead Vevo’s expansion across APAC and working with our talented team to deliver new opportunities for partners across the region.

”Vevo recently celebrated five years of APAC operations, during which they have had zero staff attrition – a standout result in the fast-moving media landscape. With revenue, client partnerships and brand presence all on the rise, the expanded team structure is designed to meet growing market demand and capitalise on new opportunities across the region.”

Kelly has been promoted to Group Sales Manager ANZ following strong performance in his previous roles at Vevo, including Senior Sales Manager and Sales Manager ANZ. Since joining in 2021, he has consistently exceeded targets and built trusted relationships with top media agencies and direct clients across both sides of the Tasman.

With over a decade of experience spanning TV, out-of-home, digital and content sales, he has twice received Vevo’s highest international sales award for the ANZ region.

Trumble joins from Nine Network where he was the Digital Solutions Lead, following agency-side roles at OMD Australia and Loud Days. Trumble’s strong mix of analytical expertise, client management and knowledge of the BVOD and digital video market will further strengthen Vevo’s agency and client partnerships across ANZ.

Steve Sos, Managing Director of Vevo APAC, added: “Building a high-performing team has been critical to Vevo’s growth across APAC. Tim and Blair have been instrumental in helping us scale and deepen client relationships, and we’re proud to see them step into bigger roles.

“Adding someone of Alex’s calibre strengthens the team even further at a time when reaching engaged, high-value audiences is more critical to brands than ever.. Great people representing great, brand safe content at scale – that’s what Vevo is all about.”

Top image: Tim O’Connor and Steve Sos

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Nova Entertainment has emerged as the country’s biggest radio network in terms of cumulative audience, with 6.5 million Australians tuning in each week across its Nova and smoothfm brands.

It’s a powerful result for the network in the second GfK radio ratings survey of 2025, and one that Group Program Director Brendan Taylor says reflects Nova’s consistent national strategy, and a deep connection with its listeners.

A record-breaking breakfast audience

The Nova Network also recorded the highest cumulative breakfast audience of any network, with 2,380,000 Australians starting their day with Nova content.

Taylor said cume is the key metric the business watches when measuring brand health and audience engagement.

“When we talk about cume, it’s the metric we use to gauge our connection with the audience in each respective market and nationally for the Nova network,” he said. “The audience that connects with or engages with us each week is outstanding.”

He added: “Given the changing listening habits over the summer, reaching that [6.5 million] figure puts us in a strong position for this time of year. It just shows the strength of the Nova brand.”

Smooth sailing in Sydney and Melbourne

Beyond Nova’s strong performance, sister brand smoothfm continues to deliver outstanding results, particularly in Sydney, where smoothfm 95.3 is now the #1 station overall.

“For 95.3 in Sydney to be the number one station is incredible, especially when you compare it to some of the bigger names and higher-profile personalities within us and the market,” Taylor said. “It consistently delivers and stays true to its promise.”

Taylor praised smooth’s team, led by Head of Programming, Pete Clay, for driving consistent results with a small but high-performing crew. “Look, smooth is a small team around the country, but they deliver significant results for not only us, but also our commercial partners.”

In Melbourne, smooth 91.5 remains a formidable player with strong consistency and continued appeal across workday and drive slots.

Chrissy Swan connects in afternoons and beyond

Nova’s afternoon lineup is also paying dividends, with The Chrissy Swan Show (2–4pm) now the most listened-to afternoon show in the country. Chrissy’s move into this slot has extended her reach beyond Melbourne, where she has long been a fixture in breakfast.

“Chrissy is so passionate about radio,” said Taylor. “She absolutely loves what she does. Jack [Charles] complements her beautifully on the show and keeps her grounded… and Sarah McGilivray has really gotten Chrissy into that great position where the connection that she has with her audience is really translating into the results we’re seeing.”

Chrissy has also stepped into the Sydney market recently, taking over from Kate Ritchie while she takes time off to focus on her mental health.

“What’s pleasing is how the team can band together, it shows the power of the Nova brand,” Taylor said. “Chrissy has jumped in and helped out this year, and it’s just resonating with the audience. It’s not just about one person.”

Drive thrives with Ricki-Lee, Tim and Joel

Nova’s Ricki-Lee, Tim & Joel drive show continues to draw strong national audiences with its mix of personality-driven content, humour, and music. Taylor said the team’s on-air chemistry and behind-the-scenes work are key to their appeal.

“They’re just stand-out performers… it’s constant work, constantly adjusting the content, adjusting the music, adjusting the output to the audience,” he said. “And having that genuine connection amongst all three of them, we’re seeing it in the results.”

He credited Sarah McGilvray, who oversees the show’s production, with managing the team’s direction and flow.

Melbourne heats up: Jase & Lauren vs. Everyone else

The Melbourne radio market remains one of the most competitive in the country, particularly in breakfast, where Nova 100’s Jase & Lauren continue to lead in cume and show growth.

The duo recorded a 10.2% share, and while not  #1, are edging closer to the position currently held by Christian O’Connell on the Australian Radio Network’s (ARN) GOLD 104.3, who recorded a 10.8% share.

“There’s always a lot of market noise… but Jase, Lauren and Clint are just great people to work with. They’re a very good breakfast show,” said Taylor. “They’re up against some quality competition, but it really shows that live and local connection counts, as does being able to engage with that audience on a daily basis.”

With The Kyle & Jackie O Show newly expanded into Melbourne on KIIS 101.1, the breakfast battleground has intensified, but Taylor says Nova is holding its ground through consistency, connection, and content built specifically for the local market.

A bright future for radio

As Taylor reflects on Nova Entertainment’s nationwide success, he remains bullish on the future of live radio, even in an era of endless choice.

“Yes, there’s a lot of quality programs to listen to… but if there’s any attention we can have on our industry, it’s for the good,” he said. “There’s some great radio being produced… and people are connecting.”

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Mediaweek’s Media Movers charts the biggest people moves in the industry over the past week.

Katie Rigg-Smith, WPP ANZ chief strategy officer, will depart WPP after 26 years with the global media company.

In an internal staff email seen by Mediaweek, Rose Herceg, WPP country president of Australia and New Zealand, commended the now outgoing WPP ANZ chief strategy officer for her contributions to the company and its brands over the decades.

Rigg-Smith recalled her career journey with the Group: “I was straight out of university when I started and never in my wildest dreams did I imagine the adventures that would await me for the next 26 years. It has been an absolute blast and I have loved every minute of it.

Que Minh Luu, Netflix’s director of content for Australia and New Zealand (ANZ), has announced her departure after five years with the streaming giant.

Her exit comes at a critical moment for the local screen industry, which faces ongoing debate over content quotas and levies for streamers, while producers warn of diminishing commissioning and production levels.

In a statement to C21 Media, Minh Luu expressed pride in her tenure: “I’m incredibly proud of the past five years, setting up the team and slate and commissioning award-winning and loved shows.

“It’s been a privilege to help shape Australian stories on Netflix, and while I’m stepping aside, I’m excited to continue working as a creative consultant exclusively for Netflix.”

oOh!media has announced Managing Director and Chief Executive Officer, Cathy O’Connor, will step down in the second half of 2025.

After leading the company for more than four years, O’Connor and the Board have agreed that with the company performing strongly, it is the right time to hand over to new leadership for the next phase of growth.

Guill Rodas has been appointed as R/GA Chief Technology Officer for APAC.

He will work alongside Ben Miles, Chief Design Officer, APAC, to shape brand experiences for the intelligence era. He will also unify the agency’s technology practice across Southeast Asia, North Asia, and Australia, establishing a new model for tech-enabled creative innovation.

Amanda Laing has officially returned to Nine, taking on the newly created role of Managing Director for its Streaming and Broadcast division. Most recently, she was chief commercial and content officer at Foxtel Group and managing director at Binge.

Mediaweek had reported Laing’s impending move back to Nine in January, with her appointment set to bring together Stan, 9Now, Broadcast Television, and Radio, as the group accelerates its strategic transformation with an operating model reset and a new executive team.

Daily Mail Australia has announced the appointment of Amy Hoskin as Group Sales Manager, tasked with overseeing commercial operations across Melbourne and the Southern States.

Hoskin will be based in Melbourne, leading the local sales team and focusing on revenue growth and strategic partnerships across both agency and direct client channels.

Triple M has announced the launch of two new Rush Hour Drive shows focused on delivering localised NRL coverage for New South Wales and Queensland, beginning Monday, 28 April.

The new shows, airing weekdays from 4pm to 6pm, represent a significant expansion for Triple M’s sport-focused programming and comes in the wake of the departure of broadcaster Marty Sheargold.

BBC Studios former Managing Director Australia Fiona Lang has announced her next career move, taking to LinkedIn to share that she will be joining Nielsen as Managing Director Australia, Television Audience Measurement.

Lang’s appointment follows her departure from the BBC last year, where she surprised staff during an “all hands” meeting in September 2024 by revealing she would be stepping down from her role.

Nine has appointed Matt James as Chief Sales Officer. He will report to Chief Executive Officer, Matt Stanton.

James brings 35 years of experience and was previously been CEO of global media agency Zenith Media based in London, the inaugural Group CEO of Publicis Media, and CEO of Zenith Australia and New Zealand.

Porter Novelli has promoted Laura Hill to the newly created role of Managing Partner – Engagement.

Hill previously served as Special Counsel and brings a wealth of experience and a deep understanding of strategic engagement to this leadership position. Her appointment reflects the increasing demand for effective engagement across industries, as organisations navigate change and major reforms in sectors such as energy, aged care, health and education.

Colony Group has appointed Tracey La Spina as Lead Strategist to oversee its portfolio, which includes Creative Outpost, Orange Digital, and Brand Acumen.

La Spina brings over 27 years of experience as a highly strategic business and marketing executive to the agency. She has developed marketing and growth strategies for some of the world’s most iconic brands, including Disney and McDonald’s.

The Atticism has appointed Maven PR Founder Sophie Muir as Managing Director for the hospitality and urban lifestyle PR agency.

Muir will take on the day-to-day operations of The Atticism from the agency’s Sydney office, while Renae Smith, founder and CEO of The Atticism, will continue to lead global strategy and direction from The Atticism’s London base.

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