Friday June 6, 2025

Jo Boundy, CommBank Chief Marketing Officer, Makenna Ralston, CEO CommBank IQ, Jonathan Hopkins, Co-founder, Sonder, Mike Connaghan, Managing Director, Commercial Content, News Corp Australia
CommBank Connect showcase: CommBank makes trust the new currency of retail media

By Natasha Lee

Australia’s most trusted ad network? CommBank bets on it.

It might have been quietly launched last year, but Wednesday night marked the first time CommBank had truly lifted the lid on its ambitious media retail project, CommBank Connect.

Held at its iconic Vault in Martin Place, Sydney, the exclusive showcase gave media and agency partners a deeper look into the scale, strategy and soul of what the bank believes is one of Australia’s most powerful and trusted advertising ecosystems.

The event coincided with a major corporate milestone: the same day CommBank became the first ASX-listed company to be valued at more than $300 billion.

If timing is everything, this was no accident.

 

Not just another retail media network

The bank was adamant to stress this is not just another screen with banner ads, or a marketplace for programmatic buys.

According to the bank’s Chief Marketing Officer Jo Boundy, CommBank Connect is built on a unique combination of trust, transactional scale, and intelligent personalisation.

“We have 12.3 million people who log into our app every single day. So it’s big,” Boundy told guests.

“People connect in the app regularly, with an average of 43 connections per month. We also have over 600 branches and 1800 ATMs across the country. And because of CommBank Connect, we’ve invested more in those branches and that physical experience. We now have 2,000 digital screens that you can use as a CommBank Connect partner.”

That combination, massive daily reach, a physical footprint with 2,000 digital touchpoints, and deep data analytics through CommBank IQ, is what the bank says sets its offering apart.

And it’s already delivered: a campaign with Destination Canada saw travel consideration among CommBank Connect customers jump by 62%.

 

Data, trust and utility

At the heart of CommBank Connect is data. Not just the scale of it, but the responsibility around it.

“Customer data is a gift, not a commodity,” said CommBank IQ CEO Makenna Ralston. “That gift comes with enormous responsibility. When customers give you first-party data in such a trusted way, they expect you to use it to improve their lives.”

That means advertisers need to meet a higher bar. Ralston said it’s not a question of whether to personalise, but whether a brand has earned the right to use data to deliver better services, better content, and smarter offers.

Boundy echoed that philosophy. “We want to ensure we’re serving up more relevant content to our customers. And we want to promote offers and discounts from brands they love. That’s where the data helps, serving the right offers from the right brands to each individual.”

 

The CommBank ecosystem as premium ad real estate

According to News Corp Australia’s Managing Director, Commercial Content, Mike Connaghan, CommBank’s platform is uniquely placed to deliver real advertising value, but only if it’s done right.

“It didn’t start with a media network,” he told guests. “Who really needs another media network? Another screen to place an ad on? What CBA is doing is starting with content, content that helps people through their day, helps them save money, helps them live a better life. The content that surrounds any ad is really, really important.”

Connaghan pointed to the sheer scale of the platform. “The website and app can be among the most visited and used in the country. The data that sits behind that is obviously really powerful. But what matters is that the ecosystem makes sense. You can’t just throw up screens and say, ‘buy ads here.’”

As Boundy put it: “This is about connecting customers to brands they already love, at the right time, in the right way. It’s all about improving their experience.”

With Are Media, Woolworths, Coles and other retail giants sharpening their own media offerings, CommBank Connect is carving out a distinctly high-trust lane in the race to monetise first-party relationships.

Keep on top of the most important media, marketing, and agency news each day with the Mediaweek Morning Report – delivered for free every morning to your inbox.

Jess Bailey
ELLE Australia’s editor Jess Bailey on why print thrives with omnichannel publishing

By Natasha Lee

‘Advertisers still want print, and as we’re learning, our readers do too’.

When Jess Bailey took the reins as Editor of ELLE Australia earlier this year, she wasn’t just inheriting a glossy fashion brand.

She was stepping into a legacy that spans 80 years globally and, more pointedly, reimagining what a modern luxury media product looks and feels like, for readers, for advertisers, and for the industry at large.

Now, just months into the role, Bailey has brought clarity to a previously fragmented ecosystem.

She’s aligned the magazine’s print, digital and social under a single, cohesive vision, proving that omnichannel is more than just a buzzword, it’s a lifeline.

And it’s working.

 

New vision, old soul

Bailey approached her new role the way a designer might build a collection: by studying the archives and using history to shape the future.

“I’ve held firm for years in the belief that there’s great power in looking back in order to inform how you move forward,” she says. “A huge part of keeping a product original is diving into the archives.”

Since February, ELLE has not only returned to print, but recalibrated its presence across platforms. Video has become a priority, particularly on social, where Gen Z audiences expect immediacy and movement.

“I felt we could be more reactionary to the fashion and entertainment space, especially early in the mornings,” Bailey explains. “I also felt that we could favour Reels more than we were.”

The results? A digital renaissance: +22% growth in page views, +82% in social views, a staggering +849% lift in followers and a +125% surge in engagement.

 

Why print still matters

While Bailey’s omnichannel strategy has sparked digital growth, she’s equally passionate about ELLE’s tactile offering.

“There has been rhetoric for years that print is dying and it’s just not true,” she says.

“In all the noise of online, taking the time to switch off and read a magazine is considered a luxury, it remains a beacon of affordable luxury for the Gen Z audience.”

Bailey believes this renewed appetite for print is about more than aesthetic, it’s about intentionality.

That’s why the ELLE team has sourced luxurious paper stock from the United States and upped the ante on photographic production.

“You’ll notice that our glossy pages are of a particular weight, we’ve brought them in specially,” she says.

“Reading a magazine should feel joyful and exciting. It should make people smile.”

This isn’t sentimentality, it’s strategy. Print offers advertisers something digital can’t: a space that feels rare, premium, and lasting. And as fashion cycles continue to blur, more issues means more moments to capitalise on.

“The biggest moments on the fashion calendar are in March and September,” Bailey says, “but fashion releases all year round. We needed more issues to create more space for ads, otherwise we’d be missing out on revenue.”

Are Media’s plans to publish four issues in 2025 reflect this renewed commitment.

Milly Alcock in the June issue of ELLE Australia

Milly Alcock in the June issue of ELLE Australia

 

Branded content, redefined for the luxury space

Branded content is, of course, a revenue mainstay, but at ELLE, tone is non-negotiable.

For Bailey, any commercial partnership must still feel at home within the brand’s distinctive editorial voice. “The tone of branded content hasn’t changed. It will always be the ELLE tone,” she says.

That consistency is central to ELLE’s appeal with both audiences and advertisers.

The brand doesn’t chase relevance, it curates it, wrapping commercial content in the same intelligent, aspirational styling that defines its core editorial.

Events, awards and a community of tastemakers

With ELLE turning 80 globally this year, there’s a celebratory energy coursing through the brand’s veins, and big plans on the horizon.

Chief among them is the return of the ELLE Next Gen Awards in September. It’s a chance to spotlight the next wave of creative talent across fashion, beauty, music, film, tech and beyond.

“We’re so excited to bring it back,” Bailey says. “This country has such bright tastemakers, and ELLE has always been about discovering and elevating them.”

In tandem with the awards, Bailey and her team are building out new verticals including ELLE ManELLE TravelELLE Beauty and ELLE Bride, some of which already exist globally in the ELLE ecosystem.

But Bailey is putting a local spin on each, reimagining them for Australian audiences across both print and digital.

Milly Alcock in the June issue of ELLE Australia

Milly Alcock in the June issue of ELLE Australia

 

The nostalgia is real… and it’s powerful

Bailey’s connection to ELLE runs deep. She grew up reading the magazine, and vividly recalls unboxing old issues from her twenties when preparing for her editor interview.

“I remembered the excitement of opening a new issue, and the joy of snuggling down to read it at night,” she says.

“To now be at the helm of ELLE Australia is somewhat surreal. It’s exciting and thrilling.”

But she’s not here to just relive the past. She’s on a mission to help the next generation fall in love with the medium, and the magazine, the same way she once did.

“The relaunch of ELLE Australia has seen more and more digital natives turn to print as a collectable, as a tangible beauty,” she says.

“And if I’m lucky, they might also keep my issues for years to come.”

 

The bottom line

Bailey’s vision is bold, clear and already yielding results. In a media landscape that often trades depth for clicks, her belief in luxury, storytelling and print-as-art feels both defiant and necessary.

Advertisers are noticing. So are audiences. And as ELLE Australia steps into a new chapter, it’s not just keeping pace with the zeitgeist… it’s setting it.

Keep on top of the most important media, marketing, and agency news each day with the Mediaweek Morning Report – delivered for free every morning to your inbox.

Soo Hugh, Richard Gadd, Sally Wainwright
Baby Reindeer and Happy Valley creators to headline Future Vision 2025

By Tom Gosby

Future Vision returns to Melbourne this July with global TV creators Richard Gadd, Sally Wainwright, and Soo Hugh leading discussions on the future of storytelling.

Australians in Film has announced the return of Future Vision, Australia’s premier global television exchange, scheduled to take place from 14 to 16 July 2025 at ACMI in Melbourne. Supported by Screen Australia and VicScreen, the event will bring together top international and Australian creative leaders in television.

Future Vision 2025

Future Vision 2025

Now in its second year, Future Vision will feature Emmy, Golden Globe, and Peabody Award winner Richard Gadd (Baby Reindeer); BAFTA-winning creator Sally Wainwright (Happy Valley); and Soo Hugh, the Peabody-winning creator behind Pachinko, as headline speakers.

The event is framed around the theme “Optimism,” building on last year’s focus on courage and reflecting ongoing industry challenges including market contraction, regulatory shifts, and the implications of artificial intelligence.

Bruna Papandrea (Nine Perfect Strangers) and Tony Ayres (The Survivors) will return as co-chairs, continuing their leadership roles at the event. The program aims to foster cross-border collaboration and reimagine storytelling in a rapidly evolving media environment.

“Events like Future Vision are very important. They bring together people who care about pushing boundaries, taking risks, and telling stories that mean something,” said Richard Gadd, creator and star of Baby Reindeer.

Sally Wainwright shared her enthusiasm: “I’m delighted to have been asked to take part in Future Vision and am looking forward hugely to talking telly with everyone.”

Soo Hugh reflected on the events relevance: “Throughout my career, I’ve been lucky to learn from extraordinary storytellers who taught me the power of vision and reminded me how deeply personal stories can resonate globally. I’m excited to attend Future Vision.”

The 2025 edition of Future Vision reinforces Australia’s position in the global screen conversation, offering local talent a platform to engage directly with some of television’s most influential voices.

Top image: Soo Hugh, Richard Gadd, Sally Wainwright

Keep on top of the most important media, marketing, and agency news each day with the Mediaweek Morning Report – delivered for free every morning to your inbox.

Nine News logo on car door
Nine launches longform current affairs and investigations unit

By Dan Barrett

Nine News has today formalised the creation of a dedicated longform current affairs and investigations unit.

Nine has today announced the formation of a new, dedicated longform current affairs and investigations unit.

60 Minutes Executive Producer Kirsty Thomson will oversee the new unit in an expansion of her existing responsibilities.

Nine reports that the creation of this new multi-platform unit will enable Nine news and current affairs reporters to “delve deeper into compelling national and international issues.”

It exists as part of Nine’s broader News Transformation project, which has an interest in making use of Nine’s extensive archives of historical footage and other resources.

Thomson has already been running a trial version of the team with this announcement formalising the ongoing work of the team. Nine has touted the success of its digital-video show The Brief, produced by the new team, which has covered a range of diverse stories including the mystery surrounding the death of actor Gene Hackman, through to Chinese warships in Australian waters, and the death of great-grandmother Clare Nowland in a police-involved taser incident.

The new unit has also produced ten one-hour documentaries and has further engaged with Stan, The Sydney Morning Herald, and The Age on four documentary projects. More programs are in production.

“I’m incredibly excited to lead this new unit and build on the fantastic momentum we’ve already established. The opportunity to delve deeper into compelling narratives, uncover new perspectives, and collaborate with Nine’s exceptional talent nationwide is immense. We’re passionate about pushing creative boundaries and delivering high-quality, longform journalism that captures the stories shaping Australia and the world. This unit is about empowering our journalists and production teams to pursue those stories that demand more time and a different lens, ensuring we can bring the full picture to our audience,” Thomson said of the announcement.

Fiona Dear, Nine’s Director of News and Current Affairs, said: “This strategic investment in our news teams underscores our unwavering commitment to journalistic excellence and builds upon our clear strength in longer-form, more in-depth stories.

“By leveraging the company’s unrivalled scale and diversity we can access ideas and content from our award-winning journalists across both 9News and Nine’s publishing mastheads and deliver it to our audiences across our streaming and broadcast platforms.”

“We recognised a clear need to provide a space where important stories can be explored with the depth and nuance they deserve. In today’s fast-paced news cycle, the ability to dedicate resources to longer, more investigative pieces is crucial. Under Kirsty’s leadership, this unit is poised to deliver impactful content that informs, engages and sets the agenda.”

In recent weeks there have been stirrings of rival Ten launching its own investigative unit with rumours circling of a dedicated current affairs show that could possibly take the place of The Project.

Martin White, Vice-President of Broadcast News, spoke with Mediaweek and advised that the network is “looking to explore longer-form, investigative storytelling across all our platforms.” Former 7News journalists Denham Hitchcock and Amelia Brace have joined the Ten news team.

Keep on top of the most important media, marketing, and agency news each day with the Mediaweek Morning Report – delivered for free every morning to your inbox.

Wicked For Good poster art
Wicked: For Good trailer drops, but… who’s playing Dorothy?

By Natasha Lee

Fans are still waiting for Oz’s most iconic character to step out from the shadows.

Universal Pictures has released the first official trailer for Wicked: For Good, the second instalment of the two-part adaptation of the Broadway smash hit Wicked.

Directed by Jon M. Chu, the sequel arrives one year after the original film broke box office records and reinvigorated mainstream interest in musical theatre adaptations.

The new trailer offers fans their first extended look at the fallout between Elphaba (Cynthia Erivo) and Glinda (Ariana Grande), as well as a glimpse at what appears to be Dorothy Gale herself, though her face remains hidden, and the actor behind the role is still under wraps.

This strategic tease is fuelling speculation and social chatter, giving Universal’s marketing campaign an extra layer of intrigue.

 

An adaptation with ambitions beyond nostalgia

Wicked: For Good adapts the second act of the Broadway musical, which was itself based on Gregory Maguire’s 1995 novel, a reimagining of L. Frank Baum’s The Wonderful Wizard of Oz.

The film continues Elphaba’s transformation into the infamous Wicked Witch, while deepening the moral and political complexities of Oz’s fractured world.

The sequel focuses on Elphaba’s resistance to the Wizard’s authoritarian regime and sets up the iconic moment fans know is coming: Dorothy’s fatal splash.

While the trailer hints at this pivotal scene, it avoids revealing Dorothy’s face, an intentional move, according to director Chu, to maintain narrative focus and audience suspense.

 

A cast with serious star power

The first Wicked film made an impressive mark, grossing US$755 million globally on a reported US$150 million budget. It earned 10 Oscar nominations, including Best Picture, and took home two awards, setting a high bar for the sequel.

Returning to their roles, Erivo and Grande are joined by Jonathan Bailey as Fiyero, Michelle Yeoh as Madame Morrible, and Jeff Goldblum as the Wizard.

However, the buzz continues to orbit around the unconfirmed casting of Dorothy.

Though a brief shot in the trailer shows the character in her trademark blue gingham dress, the camera never reveals her face.

According to Digital Spy, that mystery has only intensified speculation, with fans linking names like Abigail star Alisha Weir to the role. Weir has acknowledged the rumours but hasn’t confirmed anything.

Chu has remained careful in interviews, noting that Dorothy’s presence in the film universe is more pronounced than in the stage show. “We tread lightly,” he told Vanity Fair.

“We try to make more sense of how it impacts our girls and our characters than maybe the show does. We’re delicate.”

Keep on top of the most important media, marketing, and agency news each day with the Mediaweek Morning Report – delivered for free every morning to your inbox.

Clemenger Group - Robert Morgan.jpg
Robert Morgan retires from Clemenger Group after 46 years

By Alisha Buaya

Les Timar: ‘It is very rare for someone to have spent such a large part of their career with the one company, but Robert has always been the exception to the rule.’

Robert Morgan will retire from Clemenger Group at the end of the month after 46 years with the holding company, 23 of those years serving as Chairman.

Morgan said in a statement: “I have loved the business and have been incredibly lucky to have had the career I’ve had. But the best thing has been the remarkable talented and wonderful people I’ve worked with over these 46 years.

“We have a strong company. And I’m confident of the future. As long as we never forget – great work, works best!”

The outgoing chairman recalled being hired by the co-founder Peter Clemenger, who he called “Australia’s greatest ever advertising agency leader”, and rising through the ranks – from account executive to managing director, CEO and Chairman.

“Sometime later, I was promoted to run Clemenger Melbourne and did so for eight years. We had great fun, success and did some fantastic work; won many new clients, Agency of the Year’s and Creative Awards. When Peter stepped down in 1998, I became CEO of the Clemenger Group and joined the BBDO Worldwide Board and had these roles until the end of 2021.”

As leader, he said Clemenger Group continued to build and diversify.

“We started businesses, including OMD, bought businesses and closed some too! But, we never forgot our core purpose – to do great work for our clients – The Work, The Work, The Work.

“The Clemenger Group grew strongly, and we had great success. Our Agencies were recognised locally and globally for our work. Clemenger and Colenso won Agency of the Decade awards. Not only in advertising, but across the marketing services spectrum, we have had best-of-class businesses being awarded as such.”

Morgan made special mention of Les Timar, Adrian Ciabotti andHylton Mackley.

“Les Timar, a wonderful leader and friend for the last 27 years, Adrian Ciabotti, the best financial leader we’ve had along with the legendary Hylton Mackley and last but definitely not least, Meagan Smith who has worked with me (and really run the Company) for the last 25 years.

Timar, CEO of Clemenger Group, celebrated Morgan’s tenure with the agency in a separate statement.

“It is very rare for someone to have spent such a large part of their career with the one company, but Robert has always been the exception to the rule. He is a courageous, respected leader who has championed creativity and has been instrumental in growing Clemenger Group to the successful network of advertising, marketing and consulting companies it has become today.

“Robert has also been a fantastic mentor – always generous with his time and wisdom – and a tireless advocate of our company’s longstanding values, none more so than “Think We, Not Me”.

“Thank you, Robert on behalf of all of us at Clemenger Group. Your contribution to our company and our country’s marketing and communications industry has been nothing short of remarkable

Top image: Robert Morgan

Keep on top of the most important media, marketing, and agency news each day with the Mediaweek Morning Report – delivered for free every morning to your inbox.

Spark Foundry - Matthew Turl
Spark Foundry's Matt Turl: Clients are under pressure - you need to understand how their business works

By Alisha Buaya

Turl also spoke about the value of adaptability and long-term thinking, optimising growth and opportunities and maintaining momentum in long-term partnerships.

Budget constraints and economic uncertainty have put pressure on client and agency partnerships, but for Spark Foundry, its relationships with long-term clients are not only weathering the storm but growing.

The Publicis Groupe agency has been a trusted media partner for health insurance brand HCF, super fund Australian Super, Peters Ice Cream and Royal Caribbean Cruises.

Matt Turl, CEO of Spark Foundry, told Mediaweek: “All of the businesses that we have had long-term relationships with have had challenges at points in time.

“What sits at the heart of any of those partnerships has been an ability to adapt.”

Turl also spoke to Mediaweek about the value of adaptability and long-term thinking with clients, optimising growth and opportunities and maintaining the agency’s momentum in long-term partnerships.

The year so farWith almost half the year down, Turl said the global uncertainty has the agency’s eyes on the state of the economy and how that impacts their clients.

“For the leadership team, we’re trying to anticipate what may or may not happen. We’re trying to buffer ourselves against what may happen through new business in particular. We’re concerned about some of our clients and the impacts that may fall out on their businesses.”

Turl said that amid the industry innovations and new channels, he and the Spark Foundry team are examining the opportunities for their clients and measuring those achievements.

“Spark is well-positioned to manage that. We have a team of analysts of 30 in the agency now. We have the bandwidth to kind of deal with the complexity of the challenges that are being thrown at us.”

Maintaining trust with long-term clients

Spark Foundry’s clients come from a diverse range of categories and Turl highlighted, that adaptability is central to partnerships with long-term clients and maintaining trust as their business changes.

“Peters more recently is managing significant increases in its cost inputs and that is being managed. HCF has been through iterations of being price competitive to being less price competitive as those cycles work their way through the health insurance advertisers.

“An ability to adapt and find solutions that work when those things are changing is critical, but you can only do that if you understand the way the business works.”

Turl said that an agency should be in the client’s business and understand the relationship between the how money being invested and the returns generated and the pressure points of the business.

“I think the advertising industry is perhaps at fault sometimes for believing that we are the most important input to our client’s businesses.

“There’s nothing wrong in that, per se because it’s pride in what we do and it’s the belief that we make a difference, but there are many other pieces at play.”

Turl also highlighted the low cost, minimal work Spark Foundry did to ensure they were ready for Royal Caribbean to set sail once COVID restrictions lifted.

“If we turned everything off and did nothing for two years, we would be in a less advantageous position when the constraints of COVID are lifted.

“I think we did an exceptional job with Royal Caribbean when they were allowed to return to cruise, we were ready for that.

“We understood their industry had fundamentally changed and have been very successful in helping them on that journey post-COVID to the point where Australia is the most effective market, direct market globally for them.”

Turl discussed also Australian Super, which Spark Foundry had overseen its media before the insurance company chose to move its digital components in-house.

“We have a big team with deep expertise, but equally, we work with many clients who have in-housed that aspect of the media solution.

“It has been a lengthy journey with Australian Super. It’s been deliberate and well thought out.

“There have been points in time where we’ve gone forward and then backwards a step and we continue to support them with strategic digital expertise in our Melbourne office.”

Spark Foundry’s culture and people strategy

On the flip side of maintaining relationships with long-term clients is ensuring the agency’s team continues to feel motivated in their work.

Turl noted the longevity of the partnership is partly driven by the team working on the account and their deep understanding of the IP and young professionals coming up through the ranks and looking for opportunities.

“Finding the balance between having some stability within those teams, bringing new folk with new ideas into those teams is one critical component.”

He also noted Spark Foundry’s culture of being invested in the business outcomes for clients.

“Running this agency is a challenge a day because things change constantly. When you’re under the skin of a client’s business and you can see what’s happening, and you are obsessed with driving outcomes, then life stays interesting.”

To attract and retain talent at Spark Foundry, Publicis Groupe offers its employees a range of programs that appeal to professionals looking for flexibility, diversity, parenting support and empathetic leadership.

He also noted that The Groupe does not need to ‘police’ its people under its work-from-home policy (three days in office and two from home) because leaders can see the outcomes. It points to the fact that we’ve got the culture and balance right.

“I look at other businesses that are forcing their employees back into the office and I think it’s the culture or the way that people are working that hasn’t been fixed.

Turl also noted Spark Foundry’s growth and success which provides rewards for its people through promotions and pay rises, alongside a good balance on diversity.

“I do reflect on the fact that the makeup of ethnicities if you walk out on our floor, which has changed significantly over the last five years. We are attracting people from different backgrounds in a way the industry previously didn’t.

“That’s good for us. It’s good for our clients. It’s good that we have a perspective which isn’t constrained to the Eastern Suburbs and is reflective of the whole of Sydney and more broadly, Australia.”

Leveraging Publicis Groupe’s investments in AI

Publicis Groupe has made strides in adopting AI in recent years with its €300 million ($A493 million) investment in AI last year, the launch of Marcel, its AI platform created with Microsoft and connecting the creative minds of the Groupe globally, and the acquisitions of Epsilon and Lotame.

Turl said the way the agency trains its people and brings them along on the journey will make a difference to its clients.

“The fact that you can, within a secure environment in Publicis, you can test and learn on any of these tools. Today, it may be about getting better at prompting, but the technology will move fast and will reduce the need for us to be so adept at prompting because it will second guess what we’re asking for.

“The emphasis will move to how do you present a problem to the AI. That’s core to what we do because if we don’t understand the problem our client is having, we’re never going to get the right solution.”

He said that no one solution will make them better but rather that it will be an accumulation of security over time and working with partners like Google who have AI embedded into their solutions.

“I’m optimistic about humanity surviving the robots because humans will make a difference. The focus we have on having the smartest people that we can find in Spark is the thing that matters most.”

The year ahead

Looking ahead at Spark Foundry’s top strategic priorities, leading the list is caring for its people. Turl noted that the agency ensures progressive pathways and the agency’s momentum.

He also noted that growing the pool of talent makes the agency an attractive proposition to external talent.

Following that is understanding clients and navigating the changing media landscape, connecting it to business outcomes, particularly in challenging economic times.

Spark Foundry’s relationship with media partners is also a strategic priority. Turl explained: “There’s an interesting dynamic at play here and many other markets around the world between the global entities and the local media owners.

“We have a view that we need local media owners who can represent Australia’s interests from an editorial perspective, but they are in a dogfight with the global platforms.

“Our job is to help them all because only by helping them to help our clients are they going to survive and prosper. We’ll continue to be fixated on ensuring that we have great relationships with them and that we’re able to work with them transparently, so they understand why we made that decision not to invest or to invest with them.”

Rounding out Spark Foundry’s top priorities is Publicis Groupe’s desire for the agency to thrive. Turl concluded: “If we can do all those things in the next 12 months, then I’ll be quite happy.”

Top image: Matt Turl

Keep on top of the most important media, marketing, and agency news each day with the Mediaweek Morning Report – delivered for free every morning to your inbox.

meeting of the minds logo - June 6
Meeting of the Minds: Gareth Brock and Evelyn Coklie from Curious Nation

By Alisha Buaya

Brock and Coklie reveal the best career advice they’ve received, industry hot takes, and what they have on repeat.

This week’s Meeting of the Minds sees Gareth Brock and Evelyn Coklie from Curious Nation reveal their leadership heroes, current streaming binge, and career goals.

The Mediaweek series showcases diverse perspectives, thoughts and opinions by bringing together two different points of view from an industry rookie and an experienced expert.

 

Gareth Brock, Co-Owner and Head of Strategy, Curious Nation

Curious Nation - Gareth Brock - Meeting of the minds

Favourite podcast/read – Hadley Thomas’ Shandee’s Story has been my go-to on runs. It’s gripping, heartbreaking, and a reminder that even something as trusted as DNA science can fail when flawed systems or human error get in the way. A great example of why we should always stay curious and keep asking “why”.

Current streaming binge – I’m obsessed with The White Lotus. I even visited the Four Seasons in Taormina from Season 2 – just as ridiculous and stunning as on screen. I’m usually good at picking the twist, but this one keeps you guessing. Razor-sharp writing and beautifully flawed characters. Season 4 is rumoured to be filmed on location at Qualia, Hamilton Island, so I may have to do a trip there too.

Misconception about your role – That strategy is just decks and frameworks. I love a good one-pager or a model, but real strategy is messier. It’s about tuning in, spotting what’s unsaid, and knowing when to ask the tough question. A mix of psychology, pattern recognition, and instinct.

Best career advice – You can’t be great at everything – surround yourself with people who are better than you in different areas. And remember: you become who you spend time with. The biggest lessons often come from listening and being open to new perspectives.

Leadership hero – Brené Brown. She champions vulnerability as a strength, which I’ve found invaluable as a business owner. Leading with honesty and empathy, especially through the messy middle, builds real trust and stronger teams.

How do you stay motivated – Working with people who give a damn. No two days are the same, from on-pack promos to using Minecraft in schools or creating fan moments at the Australian Open. It’s challenging, unpredictable, and never boring. And while we’re not saving lives, we can spark joy, shift behaviour, and make someone’s day. That’s worth showing up for.

Best training course/session –  I studied consumer psychology at uni, and years later did Mark Ritson’s Mini MBA, it brought everything full circle. It sharpened my view that marketing isn’t just about creativity, but behaviour change. Still one of the most practical tools I use.

I wish someone had told me (sooner)  That certainty is overrated. The real value comes from asking smart questions, not having all the answers. Some of the most important moments in my career came from embracing the unknown.

Something that’s surprised you about the industry – Clients often have brilliant thought starters, they just need to feel safe sharing them. They know the brand inside out, and when we collaborate rather than gatekeep, the work gets stronger and more aligned.

What is your hot take on the industry – We’re obsessed with tools and tactics, but emotional resonance still wins. Whether it’s a TikTok or a brand experience, if it doesn’t make someone feel something, it probably won’t stick.

Favourite way to switch off from work – A run to the beach or a mindless TV binge. During Covid, I started turning a desk lamp on at the start of the day and off when I finish – a small ritual that helps me draw a line between work and home.

Career goal for 2025 – Keep evolving with purpose. More mentoring, more curiosity, and more work that connects. Less autopilot. More intention.

 

Evelyn Coklie, Senior Account Executive, Curious Nation

Curious Nation - Evelyn Coklie

Favourite podcast/read – It would be one of my current read, ‘Welcome to the Hyunam-dong Bookshop’. The book tells the story from a bookshop owner’s perspective who meets various characters, where she gets to learn more about them from their life stories. This reminds me again that everyone has their own life stories and that there were events in their life that made them who they are now.

Current streaming binge – Black Mirror! The new season came out recently and I really loved their marketing tactic on one of the episodes, “Bête Noire”. The character in this episode was “gaslighted” into thinking that the reality was somehow altered. Black Mirror created the same “gaslighting” effect for the viewers, where everyone experienced slightly different versions of the episode.

Misconception about your role – People might think of an account executive as someone who’s just doing and executing any tasks that were given to them, without any deep thoughts. But, I believe that being a great account executive is about taking the time to understand a brand/client/campaign, despite being given only one simple task on that project!

Best career advice – Growth often hides before discomfort. Especially in my early journey of my career, it is always a good reminder that sometimes I have to say “yes” to things before I am ready. I will not be able to grow myself if I am waiting for the time to be 100% prepared for whatever challenges or opportunities in front of me.

Leadership hero – I would say my parents are my leadership heroes. They have raised me to have good values in life, which have shaped me into who I am now. Both my parents led by example and they demonstrated how to live the values that they have taught me through their actions every day. And for that I have so much respect for them and I know that one day, if I were to lead/manage, leading by example is the way to go.

How do you stay motivated – Putting my eyes on the goal. I sometimes find myself struggling to love the process/journey, but I know that I find satisfaction when seeing results or accomplish something. For big project, I tried to celebrate and ticked off small milestones to keep me going.

Best training course/session – We had an internal session called ‘What Client Thinks’. It was such a great insight to see creative agencies from a client perspective and what most client expect when they are working with creative agencies.

I wish someone had told me (sooner) – that everyone’s still figuring out their life, no matter how old they are. Growing up with an Asian norm, I tend to find myself stressing about everything and racing towards a certain standard that people my age are expected to be. But I realised that it is okay sometimes to take a little breather and enjoy the moment, and that most people were still figuring out just like me.

Something that’s surprised you about the industry – How experiential marketing and events are on the rise, and how they are in demand in all kinds of brands. The brands that I have had the opportunity to work with over the past year were diverse.

What is your hot take on the industry – With the rising of AI and tech, they contribute in elevating experiential events. But I believe that there should still be a balance of the tech and human/hands-on aspects, as human interaction and connection are still keys in contributing to a good experiential events.

Favourite way to switch off from work – Binge-watching while crocheting. This way I get to escape from reality for a while, but still doing or creating something! Still learning to get rid of my rest guilt feeling.

Career goal for 2025 – Network more. Learn more. Experience more. Do more. Grow more. The only way is up and I want to upskill and increase my ability to be able to grow my capacity.

To take part in future editions of Meeting of the Minds, please email: [email protected]

Past editions of Meeting of the Minds.

Top image: Gareth Brock and Evelyn Coklie

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adobe
Adobe launches AI agents for product support and data insights

By Tom Gosby

Adobe has rolled out its first globally available AI agents, Product Support Agent and Data Insights Agent, enhancing workflow troubleshooting and data analysis in Adobe Experience Platform.

Adobe has announced the global availability of its first set of AI agents, including the newly launched Product Support Agent and the now generally available Data Insights Agent. These tools are designed to streamline support and insights generation within Adobe Experience Platform applications.

Unveiled at Adobe Summit in India, the Product Support Agent offers real-time, interactive support for marketers and customer experience professionals, providing guidance directly within platform workflows. It draws on internal resources like support articles, tutorials, and legal documentation to reduce downtime and improve issue resolution without requiring escalation.

The agent is equipped to capture environmental data automatically, such as logs and session metadata, pre-filling support tickets with critical context. This allows for earlier intervention by support teams and minimises delays. Additionally, it provides real-time updates on support tickets and will soon send proactive notifications on status changes.

“From onboarding new users to deploying the latest features in Adobe applications, the Product Support Agent is shortening the time it takes for us to see value,” said Sean Kegelman, Director of Digital Marketing at Wegmans Food Markets.

The Data Insights Agent, also powered by Adobe Experience Platform Agent Orchestrator, supports natural language queries to derive insights and generate visualisations within Adobe Customer Journey Analytics. Users can build and adjust analysis dashboards iteratively, facilitating faster decision-making.

“Adobe’s Data Insights Agent will be a major unlock for our organisation,” said Lokesh Alluri, Digital and Marketing Analytics Manager at Lenovo. “We can ensure that every stakeholder has timely data to drive initiatives that enhance customer satisfaction.”

Both agents are built on Adobe Experience Platform’s Agent Orchestrator, which supports integration across Adobe and third-party ecosystems.

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TikTok - safety features
TikTok give users greater control of their feed with new in-app features

By Alisha Buaya

In addition to the investment in online safety features, TikTok has donated $375,000USD in donations to leading mental health organisations across Australia and New Zealand.

TikTok has unveiled new safety and wellbeing features that allow users to have even more control over their TikTok experience.

The new tools allow people to dial up content they want to see more of, dial down or prevent content they don’t want to see, and help them wind down at night with guided meditation exercises.

In addition to the investment in online safety features, TikTok has donated $375,000USD in donations to leading mental health organisations across Australia and New Zealand.

TikTok - safety features

Among the features is Manage Topics which allows users to dial up, or down, how much content they see of a particular topic. The settings won’t eliminate topics entirely but can influence how often they’re recommended as peoples’ interests evolve over time, according to the platform.

The feature aims to add to the way people shape their feed every day – including liking or sharing videos, searching for topics, or simply watching videos for longer.

To help people stop seeing certain content altogether, we’re doubling and improving our Smart Keyword Filters. Filters allow the community to input words that they don’t want to see, for example if someone has just been on a holiday to Japan, they can exclude travel content by inputting keywords like ‘Japan’ and ‘travel’.

TikTok users can now include up to 200 keywords as a filter and our new technology uses AI to capture additional videos featuring similar words, synonyms, and slang variations to prevent them from being shown to users. The platform’s global community has used our existing keyword filters to exclude more than 200 million different words.

Adam Presser, Head of Operations & Trust & Safety at TikTok, said: “The For You feed is what makes TikTok a place like no other to discover your favourite new interests or grow a thriving community.

“With our new features, you can manage topics you want to see in your For You feed and limit keywords and hashtags you’d rather skip, so that it’s easier than ever to find creators, hobbies, and content you love.”

The new features will be available for adult and teen accounts, and build on on the tools and safeguards already available on TikTok including Not interested, Refresh your feed and Family Pairing.

TikTok - safety features

To help TikTok users unwind, the platform has also introduced an in-app guided meditation feature that encourages people to switch off at 10pm.

During Sleep Hours, people will have their scrolling interrupted by a meditation exercise. Adults can choose to turn on this feature in their settings. For teens under 18, this feature is turned on by default after 10pm and if teens ignore the first reminder, we show a second, harder to dismiss, full-screen prompt.

These features are designed to reflect best practices in behavioural change theory by providing positive nudges that can help people develop balanced long-term habits. In our testing, 98% of teens kept the meditation experience switched on and parents who want to block their teens’ use of TikTok at night can use Family Pairing.

Supporting mental health organisations

Research by youth mental health service ReachOut Australia shows 73% of young Australians turn to social media to support their mental health.

To help bolster the work of credible mental health organisations around the globe, TikTok is donating more than $2.3 million USD to assist them in making even more authoritative, engaging, and uplifting mental health content. their parents and carers, providing a safe online place to chat anonymously, get support, and feel

Six Australian and New Zealand mental health organisations are being supported through the 2025 Mental Health Media Education Fund including:
 ReachOut Australia (@reachout_aus) – a free, digital mental health service for young people and better.
 The Man Cave (@themancave_aus) – a preventative mental health and emotional literacy charity aiming for a world in which every man has healthy relationships, contributes to his community, and reaches his full potential.
 Australians for Mental Health (@afmh) – a community driven, national organisation fighting to make mental health a national top priority, all across Australia.
 PROJECT ROCKIT (@PROJECTROCKIT) – Australia’s youth-driven movement against bullying, hate, and prejudice.
 #chatsafe (@chatsafe_au) – a suicide prevention program from Orygen that aims to empower and equip young people with skills to communicate safely online about self-harm and suicide.
 Mental Health Foundation of New Zealand (@mhfnz) – a charity that works towards creating a society free from discrimination, where all people enjoy positive mental health & wellbeing across New Zealand.

In combination with training provided by TikTok, each organisation will each receive $75,000USD in advertising credits, helping foster an environment where people can discuss emotionally complex topics in a supportive way.

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Samuel Leighton-Dore’s animated sitcom WILLY
Could Ludo Studio have another Bluey-sized hit with WILLY?

By Tom Gosby

Ludo Studio and Mad Ones develop animated sitcom WILLY with Samuel Leighton-Dore.

Ludo Studio, the Brisbane-based animation studio behind Bluey, has partnered with Mad Ones (producers of Jimpa) and creator Samuel Leighton-Dore to launch development on the animated sitcom WILLY.

The series, co-created by Leighton-Dore and husband Bradley Tennant, follows Wilbur “Willy” Davis, a queer teenager living on a banana farm in pre-smartphone, dial-up-era Far North Queensland. Confronting questions of identity, religion, and masculinity, Willy retreats into a vivid imaginary world populated by neurotic mentors including a desexed housecat voiced by Reuben Kaye and a talking portrait of the Virgin Mary, voiced by Judith Lucy.

 

The pitch trailer

Ludo Studio is developing the series alongside Mad Ones and Sad Man Studio, with support from Screen Australia. A pitch trailer set to Nick Ward‘s “Control” has been released ahead of Leighton-Dore‘s pitch at the Annecy Animation Film Festival, where he will present the proof-of-concept to international buyers as part of the first-ever Australian film delegation supported by Screen Queensland.

 

Under development

“Working on the WILLY proof of concept with Ludo Studio and Mad Ones Films has been a bit like reliving puberty — fun, challenging, exciting, vulnerable, and ultimately a bit horny,” said Leighton-Dore and Tennant in a joint statement. “We wrote these characters with Judith Lucy, Anne Edmonds, Danielle Walker and Reuben Kaye in mind, so to have their voices bring our story to life has been such a career highlight.”

Chloe Hume, Head of Development at Ludo Studio, added: “Samuel and Bradley are brilliant creative talents with a strong vision for the series, so we are looking forward to finding other partners to join us.”

The creative team includes producer Liam Heyen (Jimpa), executive producers Daley Pearson (The Strange Chores), Charlie Aspinwall (Bluey), and Cyna Strachan (Jimpa). Tennant, also the series’ production designer, draws on his upbringing in Ayr, Queensland, to inform the show’s visual style.

WILLY has been developed with assistance from Screen Australia.

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Revealed - Joh: Last King of Queensland
Stan sets date for documentary on Joh Bjelke-Petersen

By Tom Gosby

Stan’s latest Revealed documentary explores the turbulent leadership and enduring legacy of former Queensland Premier Joh Bjelke-Petersen. The feature-length film premieres June 22.

Stan has announced the upcoming release of Revealed – Joh: Last King of Queensland, a new feature-length documentary examining the contentious legacy of Joh Bjelke-Petersen. The documentary will premiere on June 22, exclusively on Stan.

Directed by Kriv Stenders (The Correspondent), the film revisits Bjelke-Petersen’s 19-year tenure as Queensland Premier, marked by economic expansion and deep-rooted corruption.

The production is part of the platform’s Revealed slate and includes major investment from Screen Australia, with additional support from Screen NSW and Screen Queensland.

Actor Richard Roxburgh portrays Bjelke-Petersen in dramatized segments that underscore his distinctive mannerisms and political style. Director Kriv Stenders and Richard Roxburgh previously worked together on The Correspondent.

Richard Roxburgh as Joh Bjelke-Petersen

Richard Roxburgh as Joh Bjelke-Petersen

The documentary combines archival footage with contemporary interviews to explore the former Premier’s rise from rural roots to national prominence, and his dramatic downfall following a Royal Commission investigation.

“I grew up in Queensland, under the shadow of Joh and vividly remember the spell he cast, as well as the passionate dissent he inspired.” said director Kriv Stenders. “In making this film I came to realise that although Joh is a man of the past, his ghost still very much haunts and resounds in our present.”

Produced by WildBear Entertainment, the documentary also features insights from investigative journalist and The Australian writer Matthew Condon.

It will screen at the 2025 Sydney Film Festival, where it is a finalist for the Documentary Australia Award. International distribution is being handled by WildBear International.

Stan’s executive producers on the project are Cailah Scobie and Alicia Brown.

Revealed – Joh: Last King of Queensland premieres June 22 on Stan.

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XXXX taps into history in new campaign celebrating Queensland Day via Thinkerbell and UM
XXXX taps into history in new campaign celebrating Queensland Day via Thinkerbell and UM

By Alisha Buaya

Sam Pulsford: ‘We’ve been proudly at the heart of important social and cultural moments in Queensland for well over a century, and Queensland Day is the perfect time to honour that.’

XXXX has launched a campaign to remind Queenslander that they’ve been the state’s beer for over 146 years, as Queensland Day celebrations take place across the state.

Brewed in Queensland since 1878, XXXX has spent more than a century establishing themselves as the Pride of Queensland. From supporting Queenslanders during tough times to backing the Maroons in every Origin.

The campaign, developed by Thinkerbell and UM, features archival imagery and a few famous faces with the placements live across Brisbane for one-day only, celebrating XXXX’s place in culture and the moments that have shaped Queensland.

XXXX taps into history in new campaign celebrating Queensland Day via Thinkerbell and UM (1)

An archival researcher was enlisted to uncover the best images from both public and private collections, with each one adapted for a bespoke site in Brisbane.

XXXX taps into history in new campaign celebrating Queensland Day via Thinkerbell and UM (1)

“XXXX has always been a great mate to the sunshine state,” Sam Pulsford, XXXX Senior Marketing Manager, said.

“We’ve been proudly at the heart of important social and cultural moments in Queensland for well over a century, and Queensland Day is the perfect time to honour that.”

Thinkerbell Executive Creative Tinker, Jonny Rands, added: “We’re always on the lookout for authentic ways to bring brands and culture together, and with XXXX, there’s plenty.

“It’s a beer that’s been part of Queensland for ages. As we dug through the archives, we uncovered so many great moments that felt worth sharing with the state on a day that’s all about celebrating Queensland.”

The archival images will run on select sites across Brisbane today only in celebration of Queensland Day.

XXXX taps into history in new campaign celebrating Queensland Day via Thinkerbell and UM (1)

Credits

Creative agency: Thinkerbell
Client: XXXX
Media: UM
Social: We Are Social
Production: 
Birdsville Races, 2008: Image credit Bill Watson,
John Howard & Kevin Waters, Milton, 1998: Image credit Newspix,
Cartons in flood, Milton, 1974: Image credit Newspix GIs on back of the Castlemaine Truck, Brisbane, 1942: Source: State Library of Queensland Bar, Brisbane, 1932: Image credit unknown

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RGA - Ben Cooper - AI Products
R/GA appoints consultant and inventor Ben Cooper to lead new AI Products Team

By Alisha Buaya

Cooper: ‘At R/GA, we’re not building off-the-shelf AI tools. We’re engineering purpose-built accelerants to unlock new creative and commercial possibilities.’

R/GA has launched a global AI Products team to help brands grow through AI-enabled products that deliver new experiences, capabilities, and value.

To lead this team, the creative innovation company has appointed Ben Cooper as Global Executive Director, AI Products.

Cooper has worked closely with senior brand leaders to shape strategies that help forward-thinking brands harness the full potential of new technology. He will report to Michael Titshall, in his role as Global Head of AI Products at R/GA.

R/GA has invested in building out a dedicated, multidisciplinary AI Products team, with deep expertise in AI consulting, design and development, and supported by the company’s new $50M Innovation Fund. Together, the brings experience from delivering over 100 AI products for leading tech companies, brands, and agencies.

Cooper and the new team builds on the AI capabilities already embedded across R/GA’s global network, collaborating with talent around the world to accelerate product innovation.

R/GA is applying AI to drive growth, as much as efficiency. The AI Products team aims to help clients navigating economic pressure and brand complexity, move smarter and use creativity to invent what’s next.

The team will deliver bespoke products, tools, blueprints, and accelerators tailored to each client’s needs, enabling smarter, more personal, and more relevant interactions that were previously impossible.

Cooper said: “At R/GA, we’re not building off-the-shelf AI tools. We’re engineering purpose-built accelerants to unlock new creative and commercial possibilities. This isn’t about doing the same things faster – it’s about evolving what’s possible and creating products that change how brands think, move and grow. That’s the opportunity – and that’s the kind of work I’ve come here to lead.”

Titshall said: “Our AI Products team will enable creativity previously not possible, opening up new growth opportunities for our clients. Ben is the perfect leader for this — a rare combination of consultant and inventor, who brings clarity to complexity and inspires innovation.”

R/GA - Ben Cooper

Ben Cooper: ‘This isn’t about doing the same things faster – it’s about evolving what’s possible and creating products that change how brands think, move and grow.’

Cooper is known for ‘Clever Buoy’ (Optus), the world’s first shark detection system, which won seven Cannes Lions and a D&AD White Pencil, and ‘NRMA Fireblanket ’ named The Australian Financial Review’s ‘Most Innovative Product’ for bushfire detection.

He founded Brainstrust, where he worked with C-suite leaders on AI strategies for brands including D&AD, Studio Space, Revolver, and Uber. His career includes roles at M&C Saatchi’s Tricky Jigsaw, The Monkeys, and collaborations with BWS, Google, and Woolworths.

Cooper also led The D&AD AI & Creativity Report 2025, a landmark global study examining how artificial intelligence is reshaping the creative industry.

R/GA’s AI Products team builds on the success of its AI Search Optimization Platform (AISOP), a proprietary platform offering real-time search health checks and visibility across AI-driven search experiences — the first in a series of products under the new team. Other focus areas include predictive personalisation, generative interfaces, and brand design tools built for the intelligence age.

Top image: Ben Cooper

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Journalism

Sydney University newspaper ‘uninvites’ journalist to event

News.com.au political editor Samantha Maiden has revealed she was uninvited from speaking at a Sydney University student journalism conference, months after being asked to attend by Honi Soit.

As Maiden herself writes, the invite, extended back in March, came via a warmly worded note from a student journalist.

Fast forward to this week, and that invitation has apparently been rescinded by what Maiden cheekily dubbed the “politburo” in charge.

Read more

Media outlets warned over their ‘mushroom trial’ reporting

A few high-profile outlets have found themselves in hot water over their coverage of the Erin Patterson mushroom trial, with Crikey, Channel 10 and influencer Constance Hall all slapped on the wrist for crossing legal lines.

As James Madden and Steve Jackson report in The Australian, the trio has since made quiet edits or pulled content altogether after being warned about breaching court suppression orders or venturing into contempt territory.

It’s a sharp reminder that when it comes to ongoing court cases, the rules of suppression and sub judice apply to everyone… no matter how big the platform.

Read more

News Corp-NRL standoff flares over drug survey drama

Things got frosty in Brisbane last week, with senior News Corp editors and execs quietly snubbing NRL hospitality at the State of Origin opener.

The boycott followed a fiery clash between the media giant and Australian Rugby League Commission boss Peter V’landys, who’s fuming over a recent News Corp series titled The Deal Makers.

As Michael Chammas writes in The Sydney Morning Herald, the investigative series, based on feedback from 50 player agents, included a stat that 62 per cent of respondents believe drug use is an issue among players.

Read more

Media freeze melts after Australia House cricket fumble

What was meant to be a breezy champagne soirée with the Aussie men’s cricket team in London turned into a diplomatic own goal, with the Australian government scrambling to explain a sudden media blackout.

As Jacquelin Magnay writes in The Australian, local Aussie journos were initially told they could only attend “in a personal capacity,” thanks to a supposed exclusive media deal with the BBC.

That exclusivity, it turns out, came as news to Cricket Australia.

Read more

Legal

ABC faces legal heat over Play School producer’s contract

The ABC is headed for the Federal Court, with a Play School producer accusing the national broadcaster of breaching the Fair Work Act by stringing together multiple fixed-term contracts.

According to Calum Jaspan in The Age, the case, brought by the MEAA on behalf of digital producer Tom Scott, shines a spotlight on one of the broadcaster’s longest-running HR sore spots.

While Play School has been a staple since 1966, insiders say job security behind the scenes is anything but stable.

Read more

Television

Sky News and Network 10 race clock on regional TV deal

Sky News Australia and Network 10 are still hammering out terms on a regional broadcast deal that’s set to lapse later this month, with the clock ticking after 10 inherited the agreement earlier this year through its acquisition of key regional licences.

According to John Buckley in Capital Brief, originally signed in 2021 with Southern Cross Austereo and WIN, the deal gave Sky News free-to-air reach across regional Australia.

But with 10 now holding those licences, both parties are in deep talks over whether a new arrangement makes strategic sense.

Read more

The Project nears its final credits as Ten preps replacement

After years of speculation and sliding ratings, it looks like The Project is finally heading for the exit, at least according to Kyle Laidlaw in TV Blackbox.

Industry whispers suggest the curtain will fall within months, with Ten already developing a new current affairs-style show to take over the timeslot.

While Ten hasn’t confirmed anything publicly, insiders say the new program is being readied for a July or August debut.

Read more

Retail

Anchorage weighs financial lifeline for struggling David Jones

Anchorage Capital Partners is weighing its options as David Jones stares down the barrel of mounting losses and a tough retail climate.

The department store’s latest financials reveal a $74.4 million hit in the year to June 2023, raising fresh questions about its long-term viability under Anchorage’s ownership.

But according to Carrie LaFrenz and Jemima Whyte in the Australian Financial Review, despite a short-lived profit bump post-acquisition, recent filings warn of a potential cash shortfall, temporarily patched by a $190 million debt deal struck in October.

Read more

Toys ‘R’ Us collapses again as administrators step in

Toys ‘R’ Us Australia and New Zealand has entered administration for the second time, prompting an immediate suspension from the ASX and a search for buyers to salvage what’s left of the once-iconic retailer.

As Jessica Yun writes in The Sydney Morning Herald, after its 2018 reboot as an online-only business, the company had been chasing a restructure to stay afloat, but those plans have officially hit the wall.

A solvent recapitalisation is now off the table, with directors declaring the business likely insolvent.

Read more

Shein shifts Australian ops to Singapore amid tax scrutiny

Shein has quietly restructured its Australian arm, shifting control of its local marketplace to a new Singapore-based entity called Wonderflow Support.

As Carrie LaFrenz reports in the Australian Financial Review, the move, part of a broader internal shake-up, has sparked fresh speculation over whether the fast fashion juggernaut is eyeing tax advantages.

From April 30, Wonderflow became the official operator of Shein’s Aussie site and app, taking over responsibility for third-party sellers and transactions.

Read more

Hermès sales soar as luxury shoppers shrug off the squeeze

While most retailers are sweating through the cost-of-living crunch, Hermès is gliding along like it’s still 2019.

The French luxury powerhouse just posted Australian sales of $578.1 million for 2024, up a hefty 21 per cent year-on-year, with profits holding steady at $104.5 million, even after swallowing an extra $95 million in business costs.

As Eli Greenblat writes in The Australian, the cult of the “purchase history” lives on, with loyal fans lining up to spend big in the hopes of unlocking a quota bag down the line.

Read more

Technology

Apple App Store hits $2 trillion milestone

Apple’s App Store is not just thriving,  it’s absolutely booming, with developer billings and sales topping a jaw-dropping $2 trillion in 2023, according to a new report released ahead of next week’s World Wide Developer Conference.

As Jared Lynch writes in The Australian, the analysis, led by Boston University’s Audrey Fradkin and the Analysis Group’s Jessica Burley, found that physical goods and services made up the lion’s share, driven largely by the unstoppable rise of platforms like Uber Eats.

Digital goods pulled in $131 billion, while in-app ad revenue chipped in another $150 billion.

Read more

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