After weeks of rumours swirling around The Amazing Race Australia: Celebrity, executive producer Sophia Mogford has spoken publicly for the first time about the scandal that saw one team disqualified early in the competition.

“I will confirm that. And then there was the breach of the production’s code took place very early in the race, and was dealt with promptly. So after that, you’ll see who’s left,” Mogford told Mediaweek.

She added: “You can’t refilm the race, unfortunately. So all of the teams who were there at the starting line are there at the starting line.”

The comments are the first official timeline of events, making it clear that while a contestant was sent home after a code of conduct breach, the race itself kicked off with the full line-up intact.

How Network 10 managed the fallout

Mogford emphasised that while the incident was serious, production acted quickly to uphold both duty of care and the integrity of the format.

“The Amazing Race is about what’s happening on camera. It’s about the cultural experiences that people are having and the race that they’re running. And it’s a very experienced team who look after it. And so any breach of conduct is taken very seriously,” she stressed.

According to The Herald Sun, tensions flared after some contestants had already turned in for the night, with Dan Middleton – brother of Ant – allegedly shouting at another team.

Former AFL player turned radio broadcaster Brendan Fevola then intervened, reportedly telling producers he would quit unless the offender was removed from the competition. There’s no suggestion Ant Middleton was involved.

At the time, Network 10 stressed its commitment to the “health, safety and wellbeing of all contestants”, confirming a team had been removed.

Behind the scenes

While headlines have focused on the code of conduct breach, Mogford is keen to remind people just how vast and intricate show show really is.

The numbers alone are staggering: more than 100 crew members moving constantly across countries, operating on what she calls a “flip-flop system.” One team runs ahead to prepare each challenge, another trails behind to manage cultural sensitivities and clean-up, ensuring the show leaves a positive footprint.

“The movement order for Amazing Race is like a jigsaw puzzle on steroids,” Mogford said, adding that planning starts months before cameras roll.

Casting the right mix

Mogford says the casting process is as strategic as the route design.

There are always celebrities eager to sign up, but producers also look for quieter figures who bring balance and surprise to the line-up.

“You’re looking at the people who are ‘pick me, pick me’ and then you’re looking at the people who have considered it, or you hear whispers they might be interested. Sometimes they’re the ones who bring that special sauce,” she explained.

She adds that those who guard their private lives often end up being drawn to the challenge precisely because of its rawness. “It’s a real show. You get to do all the things. It’s not fabricated. It pushes you mentally and physically and puts you in insane places you’d never otherwise go. That’s what makes it life-changing.”

Respecting culture on the run

Mogford says months of planning go into each season before the first clue envelope is ever opened.

Locations are scouted in advance, creative challenges are mapped out, and local teams are engaged to ensure the show respects cultural sensitivities.

“This year, I think we’ve outdone ourselves on the locations,” she said, noting that while it looks seamless for contestants, behind the scenes there’s a hive of activity to make it safe, creative and respectful.

That responsibility, she added, requires a certain type of crew.

“You have to have a passion for the project and for travel and also a sensitivity to the cultural areas that we go through, because there are lots of different beliefs that we come across and lots of different environmental areas that we need to be considerate of.”

Branding opportunities

Mogford said integration has grown stronger in recent years, spanning finance, health, lifestyle and drinks categories.

For her, the key is transparency: “Audiences are a lot smarter to integration. Sometimes it’s absolutely fine if you do it front and centre, because they understand that’s what’s happening.”

She believes The Amazing Race is uniquely suited to partnerships because its authenticity translates to screen.

“We’ve had cars, and audiences know that’s a packed shot of a car. They’re not stupid. And then they see the celebs drive off in it,” Mogford said.

That honesty, she added, is why clients enjoy coming on board – and why the race continues to deliver value well beyond the finish line.

This year’s celebrity racers include:

Ant Middleton & brother Dan – the former SAS host and his sibling

Brendan Fevola & daughter Leni – AFL great and family duo

Melissa Leong & Leah Wilson – the ex-MasterChef judge and best friend

Ed Kavalee & Tiffiny Hall – comedian meets fitness trainer couple

Gretel Killeen & daughter Epiphany Mason – iconic TV host and her daughter

Rob Mills & Georgie Tunny – performer and broadcaster pair

Bronte Campbell & Benfield Lainchbury – Olympic champion power couple

Lindy & Stella Klim – fashion personality and her daughter

Dom “Tomato” Di Tommaso & Marx Marsters – parkour athlete and mate

Steph & Ben Tisdell – comedian siblings

Stephen & Bernard Curry – actor brothers with comic timing

Aesha Scott & Scott Dobson – Below Deck star and partner

Luke & “Sassy” Scott O’Halloran – viral TikTok brothers

The celebrity edition also marks the franchise’s first visit to Uzbekistan, alongside locations such as Nepal, Sri Lanka, Taiwan and Java.

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Disney and BBC Studios have revealed the release date for the upcoming Bluey movie.

Kids will be munching on choc tops and running up and down the aisles when the film is released globally on 6 August, 2027.

The Bluey movie will written and co-directed by series creator Joe Brumm and is a Ludo Studio production. As you would expect, the voice talent from the series will return with Melanie Zanetti as Bluey’s mom Chilli and David McCormack as dad Bandit. Series composer Joff Bush will also be back to provide the score.

Richard Jeffrey will co-direct alongside Brumm, with Amber Naismith (Happy Feet,The Lego Movie) producing. Joe Brumm is the executive producer, alongside Justine Flynn for BBC Studios, with Charlie Aspinwall and Daley Pearson from Ludo Studio. For Disney, the film will be overseen by David Greenbaum, president of Disney Live Action and 20th Century Studios, and his team.

After the film finishes its cinema run, it will be available to stream on ABC iView and ABC Kids in Australia. Everywhere else, it will be streamed on Disney+.

The show is a global phenomenon and regularly ranks as one of the most watched shows in the world. In the US alone, 25 billion minutes of Bluey were viewed in the first half of 2025, with Nielsen ranking it the most streamed show. It was ahead of second slot Grey’s Anatomy with 22 billion minutes streamed across 449 episodes on Hulu and Netflix.

2D or not 2D? That is the question

There is some speculation from fans about the visual look-and-feel of the movie. Announced as a CG-animated film, many have taken this to mean that the movie will shift to a 3D animation-style, leaving its 2D television look behind. Animation for the feature film will not be done by the team at Ludo Studio who handled the TV show, instead Brisbane’s Cosmic Dino will take over. The TV series was produced with computer animation also, so these concerns may be unfounded.

Bluey nodded to its own computer animation in a season three episode which broke the fourth wall by showing how the show is animated.

In June Cosmic Dino, known for films Scarygirl and The Sloth Lane, opened a new production studio ahead of getting started on the Bluey feature film.

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SBS shocked and surprised attendees as the first upfront of the season with the star of its We Go There ad campaign doing a cheeky nudie run.

After the bold shenanigans, Acting General Manager Jane Palfreyman got the hour-long show on the road, highlighting the broadcaster’s content, innovations and offerings slated for 2026.

Mediaweek caught up with media buyers from holding companies and independent agencies to get their thoughts on the presentation’s biggest selling points.

Jay Malig, Atomic 212° National Trading Lead, told Mediaweek SBS’s emphasis on culture and diversity stood out for him.

“By prioritising global, locally produced and First Nations content, SBS aims to own key cultural moments in 2026, offering a significant opportunity to engage with multicultural Australia.”

For Malig, the “highly convenient live broadcast times” of the FIFA Men’s World Cup is a “significant advantage” for Australian fans and advertisers.

“SBS is expected to maximise interest and viewership on SBS On Demand through live streams, replays, highlights, classic matches and magazine shows. I anticipate a substantial surge in new subscribers and views on the platform during the tournament, mirroring the impact recent sporting events have had on other broadcasters.”

Beyond the World Cup, he noted the diverse programming lineup from a Northern Irish police procedural drama, Scandinavian thrillers, French comedies and First Nations original content.

“This wide array of programs, in addition to core offerings like SBS World News, Alone Australia Season 4 and a dedicated food channel, is the primary driver behind the significant subscriber base of SBS on Demand.”

Malig acknowledged that while SBS’s audience numbers don’t rival those of other FTA networks, it emphasised the quality of its audience.

“Their unique programming offers more exclusive viewership with less duplication, leading to incremental reach. They also report significantly higher ad recall on linear TV – up to 47% –due to a lighter ad load compared to other networks.

“Furthermore, SBS has enhanced its audience targeting through SBS Datalab, leveraging 13 million unique IDs and allowing advertisers to match their own data.”

Sue Cant, Head of Investment at This Is Flow, highlighted the public broadcaster’s FIFA World Cup hub on SBS On Demand and FIFA+ FAST channel as factors that make the broadcaster a “critical partner for any brands looking for not just the sports crazy audiences but significant, large-scale audience reach.”

She said the launch of the restart, pause and rewind’ function across live TV on their On Demand platform as a marker of its dedication to “improving the overall consumer experience across all videos streamed on the platform.”

Cant noted SBS’s focus on indigenous storytelling through NITV’s ‘heartbreaking to heartwarming’ content made them the “best partner for delivering strong community impact for brands.”

“But she pointed out that the industry can do more to show up for NITV content. We are all aware of what the 11% investment into Audio can do for campaign effectiveness (thank you Mark Ritson and CRA), surely, we can, and should be, investing more than 3% into NITV?

“It’s such an important, untapped space for brands to show up and can deliver incremental reach to really move the needle on any Screens campaign.

“As Anna Dancey quoted ‘To refuse diversity is to except decline’ – as agencies, we need to do better with educating clients and brands on what a platform like NITV can deliver for them.”

For Clare Zappia, Media and Investment Partner at Avenue C, SBS showcased how it “proudly pushes the envelope in representing all Australians from all walks of life.”

Zappia called NITV, Sustainability, International News, multilingual cross-platform content, ground-breaking docos and “jewel in the crown the 2026 FIFA World Cup as important highlights of the presentation.

Content and cross-promotion opportunities with the return of Alone for its fourth season and new programs and docos such as King and Conqueror, A Love Story, The Chaplain and The People vs Robodebt, stood out.

Much like This Is Flow’s Cant, Zappia noted the broadcaster’s urge for brands “consider putting just 3% of their budgets behind NITV content to ensure the continuation of an important service for Indigenous Australians.”

She also SBS’s ‘Brief Green’ initiative as an opportunity for brands to start making small changes to ensure they are reducing their impact with every campaign.

Ori Gold, CEO of Bench Media, said that SBS was clear in its position on a five-minute ad load per hour, which he noted was on par with global streamers averaging four to six compared to other broadcasters at fifteen to seventeen minutes.

“The real test is whether trusted journalism, multicultural content and major events like the FIFA World Cup can deliver more attention than Netflix, Disney+ and Prime, who have entered with ad-supported tiers of their own.

He also noted the Coles360 integration as a “useful local step into commerce media.”

Gold added: “The opt-out feature is bold, but SBS still needs to prove these innovations drive effectiveness at scale.”

Mediahub Group Investment Director, Rebecca Segall called SBS’s positioning during global major events such as FIFA World Cup 2026 reinforced its strength in multicultural storytelling and reach.

“Brands looking to connect with diverse communities, particularly first and second-generation Australians can use the World Cup as an authentic touchpoint. Brands who are planning on being active June/July 2026 should be taking into consideration the impact FIFA will have on media consumption.”

Segall highlighted innovations with SBS On Demand such as new restart, pause and rewind functions and the opt-out advertising function across alcohol, QSR and wagering moving will “be welcomed.”

She called SBS’s lower ad minutage compared to other FTA commercial networks as “a nice, low clutter space for advertisers, therefore giving better ad recall and viewing experience for consumers.”

Segall was also pleased to hear a record number of brands are continuing to drive investment in NITV and First Nations media through the Beyond 3% initiative.

“Not only this, but we are starting to see the inclusion of NITV adding up to +1% incremental reach to traditional linear TV buys – a small, but very significant achievement for the network.”

For Elisa Stark, Mindshare Marketplace Director, SBS social priorities – sustainability and diversity credentials, growth of NITV audiences and launch of Brief Green – were stand out announcements.

She called the 2026 diverse content programming slate “promising” with the likes of FIFA and Alone.

“This ongoing commitment to content diversity will continue to set SBS apart in market and support their role in expanding advertiser reach with audience incrementality the other broadcasters can’t replicate.

“Their scale with new eyeballs, and a distinctive offering is really opening the door for SBS to be a true second or third network for our clients.”

Stark called out SBS’s expanded research into the Total TV landscape across 2026 as a highlight as it quantify Connected TV’s ability to drive results beyond vanity media KPIs, to real business impact such as brand equity, recall and prove marketing effectiveness.

Top image: Jay Malig, Sue Cant, Clare Zappia, Ori Gold, Rebecca Segall and Elisa Stark

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Sky News Australia will extend its live weekend news coverage from Saturday 6 September, introducing weekend editions of its flagship programs First Edition and NewsDay.

Launching from 6.00am AEST each Saturday and Sunday, Weekend First Edition will be hosted by veteran international journalist Alex Thomas. With over 30 years of experience across CNN, ITN, and the BBC, Thomas will bring global perspective and real-time analysis to the weekend morning slot.

“We want to deliver Australians the biggest news stories nationwide, and from across the globe,” Thomas said. “We’ll cover breaking events, live, as they happen, with engaging, expert guests bringing analysis and context.”

From 10.00am Saturdays and 12.00pm Sundays, Weekend NewsDay will be presented by Jaynie Seal, a long-time Sky News anchor. Seal said: “I have been at Sky News for over a decade and am incredibly excited to be a part of the continuous evolution of delivering the best news nationally and globally.”

The new schedule aims to bolster the network’s ability to deliver breaking news coverage and national affairs programming on weekends, traditionally a quieter time for live broadcasts.

Weekend programming highlights

Saturday

• 6.00am – Weekend First Edition with Alex Thomas
• 9.00am – Racing Dreams: The Everest with Tim Gilbert and Julie Snook
• 10.00am – Weekend NewsDay with Jaynie Seal

Sunday

• 6.00am – Weekend First Edition with Alex Thomas
• 9.00am – Outsiders with Rita Panahi, James Morrow and Rowan Dean
• 11.00am – Business Weekend with Ross Greenwood
• 12.00pm – Weekend NewsDay with Jaynie Seal
• 6.00pm – Freya Fires Up with Freya Leach
• 7.00pm – Danica & James with Danica De Giorgio and James Macpherson
• 8.00pm – The Sunday Showdown with Caleb Bond
• 9.00pm – Paul Murray Live with Paul Murray

All times are AEST. Viewers can stream the new weekend programming at SkyNews.com.au or via the Sky News Australia app.

Top image: Alex Thomas & Jaynie Seal

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Michael Charlton, the journalist and broadcaster who became the first person to appear on ABC television and the inaugural presenter of Four Corners, has died at the age of 98.

The Telegraph in the UK reported that Charlton “died at home aged 98 on 24th August 2025. He was a journalist with the BBC and before that a cricket commentator and journalist with the ABC in Australia.”

No further details have been released.

Charlton was born in New Zealand and grew up in Australia, the elder brother of sports broadcaster Tony Charlton. When the ABC launched its television service in November 1956, just ahead of the Melbourne Olympics, he was the first face to greet viewers.

From cricket to current affairs

Charlton began his career at the ABC, presenting current affairs programs and providing commentary for Test cricket. He also represented Australia on the BBC’s radio cricket commentary team during the 1956 Ashes series in England.

In 1961, he became the first presenter of Four Corners. His role in shaping the show’s early years earned him one of the earliest Gold Logies in 1963, just three years after Graham Kennedy received the first.

Career in the UK

Charlton later moved to London, where he built a long career with the BBC.

From 1962 to 1976 he was a reporter and interviewer on Panorama, covering major global events. He reported live from the United States in the aftermath of President John F. Kennedy’s assassination, and later from NASA’s mission control during the Apollo 11 moon landing.

During the 1970s he presented Newsday on BBC2, before moving into radio with It’s Your World, a global phone-in program on the BBC World Service during the 1980s.

Documentaries and later work

In 1986, Charlton co-created Out of the Fiery Furnace, a seven-part ABC documentary with Robert Raymond that traced the role of metals and minerals in human history, from the Stone Age through to the space age.

The series was shown in more than 20 countries.

By the mid-1980s, Charlton had largely retired from television, after three decades of reporting and presenting across Australia and the UK.

Remembered for his legacy

ABC Managing Director Hugh Marks paid tribute, saying: “Michael Charlton is forever part of the history of Australian television and of the ABC. His professionalism, integrity and body of work, including as the first face on ABC television and the first presenter of Four Corners, made him an ABC role model.

“Over a distinguished career spanning many years he made a significant contribution to journalism in Australia and overseas. The ABC extends our sincere condolences to his family.”

Charlton’s work spanned both sides of the globe and some of the most defining moments of the 20th century.

From cricket commentary to current affairs and documentary storytelling, he remains a central figure in the story of Australian broadcasting.

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Buddy Telco teamed up with creative agency alt/shift/ to launch Chat Bot Comedy, a one-night-only live show blending stand-up with AI performance.

The sold-out event featured comedian Bron Lewis performing alongside a custom chatbot created by FutureLabs. The AI improvised lines, cued jokes and fed prompts in real time, forcing Lewis to play completely unscripted.

The concept built on Buddy Telco’s positioning line, “Digital when you want it. Human when you need it,” highlighting the brand’s digital-first model supported by a Perth-based human support team.

Elly Hewitt, alt/shift/ National CEO said: “Instead of telling people what made Buddy different, we thought, ‘What if we showed it?’ That became our springboard for Chat Bot Comedy – a show designed to capture the tension and magic that happens when clever tech meets a quick-thinking human.”

Alt/shift/ extended the campaign through social content with comedians and creators Anthony Nigro, Will Weightman and Sarah Adams, helping to drive anticipation and ticket sales.

The show also included a warm-up by Ben Knight, with comedian Karl Chandler guiding the chatbot’s comedic timing.

Rebecca Rizzo, Aussie Broadband General Manager of Marketing, said: “Buddy Telco’s Chat Bot Comedy brought our brand to life in the most unexpected way.

“It’s a reminder that while tech can do a lot, the magic happens when it’s paired with a human touch. And that’s what Buddy is all about – we blend the convenience and efficiency of digital-first service with the reassurance of real human support.”

The campaign generated 34 pieces of editorial coverage, including KIIS FM’s Will and Woody, reached 242,000 across social, and delivered a 10% lift in Buddy’s social following.

Top image: Bron Lewis

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The National Basketball League (NBL) has launched the Hungry Jack’s NBL26 season with a new brand platform and national campaign, Play It Loud.

The campaign marks a shift in positioning, with the NBL aiming to move beyond traditional sports branding to build cultural relevance and connect with younger fans.

‘Play It Loud’ emphasises basketball as a space for self-expression and lifestyle, not just on-court performance.

“This campaign is a direct response to the fantastic growth we’ve seen over the past few years, particularly with the unprecedented off-season and the huge influx of talent that has come into the League,” Ted Helliar, NBL Group Chief Fans Officer, said.

“Fandom is now culture-first, not code-first. Our fans don’t just watch the game; they consume it, wear it, and remix it. We don’t follow someone else’s playbook.

“We are the original energy, a league born in noise, built on fans, and made for movement. The NBL doesn’t host games, it hosts chaos, rhythm, and culture. When we play, we PLAY IT LOUD.”

“This season’s campaign captures that spirit perfectly. It’s bold, it’s unapologetic, and it reflects exactly who we are as a league and most importantly where we’re heading: non traditional, global, and relentlessly connected to our fans.”

The strategy was developed with KOJO (strategy, creative and production), with Emotive providing copywriting support and RCJ handling media planning and buying.

The Hungry Jack’s NBL26 season tips off September 18, with all games broadcast live on ESPN and available via the NBL app.

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Accor, the AFL’s Official Accommodation Partner, has launched a new campaign positioning its hotels as the go-to choice for players and fans.

Stay Where the Players Stay was filmed at the recently refurbished Novotel Sydney Brighton Beach.

The campaign features AFL and AFLW players, legends and creators including Hawthorn’s Josh Weddle and Jarman Impey, Brisbane Lions’ Dayne Zorko, Melbourne’s Tayla Harris, commentators Brian Taylor and Nathan Buckley, and content creators Shepmates.

Adrian Williams, Accor Pacific Chief Operating Officer, said: “As lovers of footy and fans of the game, this campaign taps into a simple insight: footy fans want to feel part of the action – including where they stay.

“We’re proud to offer the same trusted hospitality enjoyed by players to supporters across the country, and to continue our support of the game and its community as the official accommodation partner of the AFL and AFLW.”

The campaign will run across TV, digital, social and in-hotel activations, aiming to merge traditional advertising with fan-focused content.

Running from now until early October, it will come to life throughout the footy season with the following campaign elements:

• National TV spots with hero 30-second TVC and several 15 second cut downs
Partner advertising across AFL channels, including homepage takeover, eDMs and digital displays
• Owned channels, including social media, email marketing and website display
• Offline media including Australia wide out of home assets
• The campaign will feature in hotels for in-venue activations including digital screens, decals and promotional items
• Tactical influencer activity launching across the period of the campaign
• Additionally, the AFL Fan Travel website is now live, featuring 27 Accor hotels nationwide – a number expected to grow as demand builds – with dynamic packaging and a major AFL-led marketing push set to drive strong bookings.

This marks the first activation under Accor’s new ‘Stay Where the Players Stay’ platform, with the NRL already signed on and potential to extend to other sporting codes.

Credits
Client: Accor
Marketing Direction: Accor Marketing Manager, Sponsorship & Events, Pacific – Rachael Farrington, Marketing Director, Pacific – Stephanie Inglis
Creative Agency: Chisel
Media Agency: Zenith Media

Media Team: Zenith Client Partner – Ewan Mitchell, Zenith Planning Manager – Victor Arambulo, Zenith Senior Digital Executive – Darcie Foster

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Trend Micro has been named an official partner of the McLaren Formula 1 Team for the remainder of the 2025 season and beyond.

Matt Dennington, Co-Chief Commercial Officer at McLaren Racing, said: “It is fantastic to have Trend join the McLaren Formula 1 Team as an Official Partner.

“Their expertise was invaluable when supporting the team in electric racing and we’re excited to build on that strong foundation as we head into this next chapter together.”

The cybersecurity company will work with McLaren Racing to safeguard operational systems and sensitive data, supporting the team in maintaining secure operations in an environment where data and speed are critical.

Kevin Simzer, Chief Operating Officer at Trend, said: “Partnering with McLaren Racing is more than just a sponsorship, it’s about shared mindset.

“We are both committed to being the best in our industries, pushing the boundaries of innovation with an eye for speed, security, and customer-first experiences that drive lasting impact.

“We’re excited to take this journey together and what it means to stay ahead of the curve and lead with confidence in a fast-moving world.”

As part of the deal, Trend Micro will run customer and partner engagement initiatives during the Formula 1 season, including hospitality experiences and access to the McLaren team, designed to showcase its cybersecurity capabilities and leadership.

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In just five years, the fabric of human social interaction has significantly shifted. And is there a cost to business?

Politics, Covid, social media, and AI have caused monumental ripples in our society, all at once. It’s a social evolution that the human race hasn’t had much time to adapt to.

Global politics and war have caused an underlying fear, uncertainty and economic issues. Australia’s economy is somewhat sheltered, but not immune. Sadly, there’s been a consequential spike in racism and equality in some ways has taken a back-step.

Covid created a warped reality for years – a strange juxtaposition of declining mental health, yet with the government financial support, a superficial sense of financial comfort saw people spending online and in property at exponential rates – only for the bubble to implode once real life resumed.

The work from home revolution has provided wellness benefits for individuals on many levels. A sense of breathing space for working mothers who instead of spending time doing hair and makeup and losing a significant chunk of the day commuting – can now use that time to empty the dishwasher, do a load of washing, prep a decent dinner, and pick the kids up before dark without eating into work time. It’s a massive ease of pressure with huge mental health benefits. For executives, it provides deep thinking space for business-critical strategies. But the issue is, some people are being less productive without the structure and support of an office environment, and strategic timely communication is at an all-time low. The cost of poor communication to a business’ bottom line can be the profit margin, but what about the cost to business relationships and culture if we don’t have that consistent in-person dialogue?

What about the impact on the bricks and mortar commercial, hospitality and retail sectors? How many empty offices and shops have you noticed? In my travels around the country lately, ‘ghost town’ comes to mind. “Central Business District” may be a lost term for future generations and city planners have a heck of a job redesigning significant infrastructure. Even in the burbs, due to cost of living, cafes are struggling to make a buck with such high rents and cost of product, and customers don’t have the same disposable income to treat themselves to eating out regularly. As more cafes, restaurants and bars close – how do we let our hair down, break bread and connect?

Social media is founded on user-generated content which is so much more relatable than previous forms of content. The danger of that quick dopamine hit is its addictiveness and it’s also changing the way we engage with other media, but also each other. There’s less time for shooting the breeze, for crafting special things of quality, and there’s no patience for anticipation. We have given birth to the scroll and fast-forward generation! How does that translate in our real-life relationships and in our jobs?

AI is an incredible advancement. Used in the right way, it’s saving costs and drastically streamlining operations. But some are confusing the principle of efficiency with smashing the to do list. The cost is learning and also quality. I see this in the workplace every day. Especially with the younger generations who are already so heavily impacted by social media.

These fundamental cultural and social shifts are directly impacting how we do business. If we’re just looking for fast results, and unskilled and uncomfortable having face-to-face communications, instead opting to hide behind email or messenger, we will not be able to build strategic and loyal relationships. Relationships in business mean getting last minute support when you need it most. It means second chances. It means being trusted to do what you think is best. It means job and new business referrals. It means repeat business. It means being able to ask for more money because you deserve it. It means trust.

And the long-term fallout may be that we breed laziness, entitlement, lower intelligence, and lose authentic human connection – driving a transactional society. Dog eat dog. Managing people or doing business with people with that social makeup does not make the risk and cost of business attractive at all to me.

An excellent real example in my industry is the pitching process. Historically you would be invited to pitch and your time to formulate ideas and to detail a proposal would be paid for. Unless it’s a blue-chip company, nowadays payment is the exception. We used to know how many and possibly even who we were up against, so we could weigh up the risk and potential of pitching. Now it’s shrouded in secrecy, and I’ve often found out after the fact that there have been 4-5 parties pitching which decreases odds of winning significantly. The saddest part in my experience, is that after you’ve prepared for weeks, taken your highest paid seniors to pitch, and given it your all – often you don’t even hear back. If we do hear back, 99% of the time it’s over email with feedback of little or unsubstantiated value. In my opinion, agencies are more and more being used to test the waters, to simply work out budgets, or to tick a box in a company’s procurement process, with the respect of due diligence and at the financial cost of the agency.

This is not the cost of doing business. This is unethical. Our global and local shifts are compounding factors in changing our societal culture, at the cost of personal growth and connection. The very notion of a relationship is two-way. So how do we navigate challenges in the workplace, how do we grow our careers, how do we maintain loyal partners, if relationships are one-sided. This approach to business is a race to the bottom, which is why, even at the tender ages of under ten, I coach my kids about integrity, authenticity and respect, because I feel that business ethics will be so questionable by the time they enter the workforce, that if I teach them some good old fashion ethics and values, they’ll have an incredible competitive edge.

My tip to executive management out there, is to put a strategic lens on business ethics in your annual plan. Build it into the company values, create programs and initiatives around it and ‘KPI it’, so it becomes engrained and advocated throughout the culture.

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Mediaweek has teamed up with the IMAA to give its indie leaders a platform to talk about their work, thoughts about the industry and their interests outside of their 9 to 5.

SOUP Agency joined the industry body in 2024 and Katya Vakulenko, Managing Director/Founder of the Sydney-based agency told Mediaweek it was the “perfect time to connect with other like-minded indies and have stronger collective voice.”

What sparked your interest in launching your indie agency?

I started SOUP Agency because I saw too many businesses frustrated with agencies overcomplicating things, outsourcing offshore, or treating clients like line items. I wanted to build a people-first, local-talent-driven agency that genuinely partners with clients and helps them grow without the smoke and mirrors.

What sets your agency and its offering apart from others?

We’re proudly 100% onshore, and we put people at the heart of everything – both our team and our clients. Our clients love that we feel like an extension of their team, not just another vendor.

We also offer the full spectrum of digital under one roof – from CRM implementation and graphic design to paid media, SEO and organic social – so brands get consistency, integration and ease. What we’re most proud of, though, is our retention: clients stay with us long-term, and so do our people. That stability means stronger relationships, better results, and a team that genuinely cares.

Indie agencies are increasingly seeing success with major pitches. What differentiates your pitch approach from that of larger agencies?

We keep it human. Instead of presenting 80 slides and buzzwords, we focus on what actually moves the needle for that client. We show them the team who’ll be on their account (not a “pitch team” they’ll never see again), and we’re honest about what will work and what won’t. That honesty and agility usually lands better than big-agency polish.

With 77% of indie agencies expecting ad spend to rise or remain stable in FY26, according to the IMAA Indie Census, how are you preparing for that growth?

We’re doubling down on process and people – building smarter frameworks, investing in training, and making sure capacity planning is rock solid. Growth is great, but sustainable growth is better, so we’re being deliberate in how we scale.

What’s another indie agency that you see is crushing it and why? (Whether it’s their work output, client relationships or culture/DE&I policies)

Two Giraffes are absolutely nailing it – their video work is clever, fun and makes you want to keep watching. They’ve got that rare mix of creativity and heart that makes their stuff really stand out

What’s a piece of work you’re most proud of?

I’m proud of the long-term partnerships we’ve built – many clients have been with us for years, and that speaks louder than any single campaign.

As a leader, how do you switch off from work and unwind after a busy week?

For me, it’s food, travel and a good dose of wellness. I love discovering new restaurants, long walks with a podcast, or sneaking away for a weekend spa session. And when all else fails – a cheeky Aperol spritz does the trick.

What does success look like for you over the next 12 months?

Success for us is about smart growth – expanding without losing the culture that makes SOUP special. We’re focused on investing in the next generation of marketers, building their skills, and giving them space to thrive. Just as importantly, we’re excited to deepen the strong relationships we already have with clients, watching their businesses grow alongside ours. And of course, we want to keep partnering with amazing, iconic brands both locally and overseas.

What can the industry expect from your agency?

We’ll continue to bridge creativity and performance, investing in talent, and demonstrating that indies can deliver.

Top image: Katya Vakulenko

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ELLE Australia hosted the first Next Gen Awards last night at Saltbox in Sydney, recognising emerging creative talent across fashion, music, film, art and literature.

The awards, sponsored by Swarovski and OPPO, were presented to a room of more than 130 guests from across the creative industries, with ELLE Australia editor Jessica Bailey as host.

2025 Next Gen Award winners:

• Next Gen Icon: Sophie Wilde (actor)
• Next Gen Actor: Yerin Ha (actor)
• Next Gen Designer: Courtney Zheng (fashion designer)
• Next Gen Filmmaker: Phoebe Wolfe (film director)
• Next Gen Artist: Hayley Millar Baker (artist/filmmaker)
• Next Gen Musician: Kita Alexander (singer-songwriter)
• Next Gen Beauty Star: Rowi Singh (makeup artist, content creator, brand founder)
• Next Gen Writer: Madison Griffiths (author, advocate)
• Next Gen Model: Anna Robinson (model, ELLE September cover star)

Notable attendees included Gemma Ward, Luke Sales and Anna Plunkett (Romance Was Born), Maria Thattil, Maia Mitchell, Aubri Ibrag, Bambi Northwood-Blyth, Achok Akoi and Petra Mackova.

Are Media and sponsor representatives included Sally Eagle, Are Media Director of Content; Anna Quinn, Are Media Director of Sales; Nicky Briger, Are Media General Manager of Luxury; Gonçalo Pinto da Costa, Swarovski Head of Marketing; and Michael Tran, OPPO Director of Global Marketing and Brand Strategy.

Jessica Bailey said: “ELLE has a truly unique ability to connect with young women, and part of that is spotlighting the next generation of Australian talent.

“Last night was an amazing celebration of our thriving creative industries and the people who are already leading them into the future. Congratulations to all our nominees and to our nine inspiring winners.”

Gonçalo Pinto da Costa, Head of Marketing at Swarovski, said: “We are proud to stand alongside ELLE Australia in celebrating the bold new voices shaping the future of fashion, beauty and culture.

“The Next Gen Awards are more than just an event – they are a platform that empowers rising talent to step into the spotlight and inspire the world with their creativity, vision and courage.

“Supporting this next generation of innovators reflects our commitment to championing fresh perspectives and investing in the cultural leaders of tomorrow.”

The winners and nominees will be featured across ELLE Australia’s September issue (on sale September 8), and on the brand’s digital and social channels.

The event marks another move by ELLE Australia to invest in emerging talent and cultural storytelling, as the global brand celebrates its 80th anniversary.

Top image: Jessica Bailey, Gonçalo Pinto da Costa and Nicky Briger

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Sephora has launched ‘The Perfect Shade For You,’ a major new campaign across APAC, from VIRTUE Asia, that sets out to redefine beauty standards by championing individuality, authenticity and inclusivity.

Building on Sephora’s global brand signature, ‘We Belong to Something Beautiful’, the campaign underscores the brand’s commitment to inclusive beauty in the region.

‘The Perfect Shade For You’ aims to empower individuals to discover and celebrate their unique identities through makeup as a tool for self-expression by highlighting Sephora’s industry-leading range of over 1,500 foundation shades,

Jenny Cheah, managing director, Southeast Asia, Oceania and India, said: “At Sephora, we believe beauty is inherently diverse and everyone possesses a unique beauty worth celebrating.

“In today’s context where consumers increasingly demand authenticity and personalisation, especially in a region as culturally rich as ours, it’ll be a remiss if we confine beauty to a narrow definition.

“With ‘The Perfect Shade For You’, we’re investing in a future where every individual in Asia Pacific feels seen, represented, and empowered to embrace their unique beauty.

“We believe this initiative will drive meaningful conversations and change in the beauty industry and set a new standard for inclusivity.”

In partnership with Virtue Asia, the campaign provides an intimate, behind-the-scenes glimpse featuring a diverse cast of individuals from across Asia Pacific.

This inclusive representation spans a wide range of cultures, ages, and backgrounds from the region and encompasses a broad spectrum of skin tones, body types, and hair textures. Regional Sephora Squad members also shared their stories on the liberation and impact of finding their own perfect shade.

By embracing and showcasing this diversity, free from hiding or retouching imperfections, the campaign empowers audiences to explore the true meaning of ‘the perfect shade’ as a uniquely personal celebration of their own beauty.

‘The Perfect Shade For You’ is now live across Sephora stores, social media channels, and digital platforms in ten key markets – Australia, China, Hong Kong, India, Indonesia, Malaysia, New Zealand, Philippines, Singapore, and Thailand. Check out the campaign and find your perfect shade at your nearest Sephora store or online.

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