Tuesday May 6, 2025
Seven West Media officially acquires Southern Cross Media’s TV assets
Seven West Media has officially entering into a binding agreement to acquire television licences and associated assets from Southern Cross Media Group Limited.
The deal includes licences operating across Tasmania, Darwin, Spencer Gulf, Broken Hill, Mt Isa, and various remote, central, and eastern Australian markets.
Expanding the reach with new markets and digital synergy
The acquisition brings Seven closer to completing its national broadcast network.
The additional markets will complement Seven’s existing reach, offering a potent mix of traditional broadcast and digital platforms.
Seven’s digital arm, 7plus, will further strengthen the proposition, offering both live and on-demand content to new audiences, enhancing its overall appeal to advertisers looking for broader national coverage.
A transformational move for Seven’s advertising partners
The total value of the acquisition is $3.75 million in cash, with completion slated for June 30, 2025.
The deal is expected to be immediately accretive to earnings in FY26. SWM’s Managing Director and CEO, Jeff Howard, highlighted that this move is another step in the company’s ongoing strategic transformation.
“Seven is Australia’s largest commercial free-to-air broadcaster, and we’re thrilled by the opportunity to bring our top-tier content to new markets,” he said. “Our Phoenix total television platform will enable media buyers to seamlessly target audiences across both broadcast and digital platforms, driving greater advertising opportunities.”
This acquisition brings Seven’s reach closer to almost 100% of Australia’s population (excluding Riverland), providing its advertising partners with unprecedented access to both local and national audiences.
More to come
Radio expert lashes out at Kyle Sandilands over Melbourne failure: 'You are responsible'
Wade Kingsley, audio consultant and co-host of the Game Changers Radio: Melbourne Radio Wars podcast, has delivered a brutal takedown of Kyle Sandilands, accusing him of squandering his lucrative contract while ignoring the harsh realities of job losses and a major corporate restructure at Australian Radio Network (ARN).
Kingsley didn’t hold back, slamming Sandilands for not only failing to take responsibility for The Kyle and Jackie O Show’s disastrous content decisions but also for continuing to indulge in crude and controversial antics at the expense of both his colleagues and the industry.
“You ran the show off the rails”
In the latest episode, Kingsley wasted no time in delivering a sharp rebuke to Sandilands, placing the blame for the show’s struggles squarely on his shoulders.
“You are responsible for that show running off the rails last year because you decided what was smutty and what was appropriate,” Kingsley said.
He added, “And yes, you weren’t reined in, and yes, you’ve got all this free control. But that was you. You did that.”
Kingsley’s comments reflect his view that the show’s struggle to find an audience in Melbourne is directly linked to the broadcaster’s content decisions.
His provocative style, which has frequently courted controversy, has so far failed to deliver the results ARN had hoped for in Melbourne – although they did show an improvement in the most recent Survey 2 – with Kingsley alleging that Sandilands’ actions led to significant fallout.
Sandilands’ huge pay packet amid redundancies
The irony, according to Kingsley, lies in the disparity between Sandilands’ enormous pay packet and the devastating job losses sweeping through ARN.
“How are you being paid an enormous amount of money [while] people have lost their jobs and the company has substantially changed for you to go on every day and think it’s your right to just be rude and smutty and crude when all of the evidence has suggested to you last year that didn’t work?” Kingsley asked.
As ARN continues its major restructuring, including widespread redundancies, Sandilands’ paycheck stands in stark contrast to the many staff members who are being laid off.
Last week Mediaweek reported that ARN has confirmed sweeping job cuts as part of a comprehensive business overhaul, making moves to reduce costs, streamline operations, and offshoring key departments.
Yet, Sandilands, one of the most prominent and highest-paid figures at ARN, continues to enjoy the fruits of his contract, signed for a reported $200 million over ten years.
The ‘Makeup Campaign’
In Kingsley’s view, ARN is essentially trying to clean up the mess caused by Sandilands’ content decisions.
“For all the money they wasted last year, they had to do another campaign to re-educate that lapsed cume, as Duncan Campbell (ARN’S CCO) called it,” Kingsley said, referencing the network’s rebranding efforts to win back disillusioned listeners.
ARN’s marketing push has been focused on repairing the brand image, addressing the fallout from controversial content and reassuring listeners that the station had “cleaned up its act.”
But Kingsley argues that rebranding alone won’t be enough. He firmly believes that Sandilands and ARN must rethink their approach to content altogether.
“You have a responsibility to the people who work on that show, including Jackie O (Henderson, Sandilands co-host), and you have a responsibility to the rest of the people at ARN,” Kingsley said.
More bad PR amid job cuts
Kingsley didn’t shy away from addressing the growing dissatisfaction with ARN’s corporate choices.
“I think one of the things that they just seem to fail to grasp in that C-Suite is the connection between A and B,” he remarked, pointing out the apparent disconnect between the company’s major financial decisions. “So A is we’ll sign someone or two people to a $200 million 10-year contract, cool. Now we’re going to go and make some redundancies. Oh, okay, so there’s the B.”
Why Andy Allen believes MasterChef: Back to Win is the envy of the world
MasterChef: Back to Win co-host Andy Allen says the long-running series has earned global admiration for staying true to its core values, fairness, growth, and heart, with praise coming from some of the world’s top chefs.
“When you’ve got people like Gordon Ramsay and Jamie Oliver speaking from the heart about how epic the Australian version is, and how everyone looks to us as leaders in this crazy franchise, that means something,” Allen told Mediaweek.
Allen, whose belief in the show is infectious, said it’s the way the reality TV show has managed to skirt the drama and consistently deliver on giving contestants a fair go.
Andy Allen and his fellow MasterChef: Back to Win judges, Poh Ling Yeow, Jean-Christophe Novelli and Sofia Levin.
“We’ve never strayed from what we’re good at, it’s always about uplifting people and getting the best out of them,” he said.
Even Ramsay, famous for his forthright opinions, took a back seat to the local crew when he appeared on the show. “That just goes to show, when someone like that steps in and just rolls with it, he trusts what we’ve built,” Allen said.
That approach appears to be paying off in spades. MasterChef Australia: Back To Win reached 1.27 million total viewers on Sunday 4 May, with a 604,000 national total audience, taking out the #1 timeslot in 16 to 39s.
The show has now reached 3.5 million total viewers season-to-date, delivering its biggest BVOD audiences ever.
Returning stars fire up the competition
Allen also pointed to this season’s “extraordinary” hunger to win, with returning contestants like Laura Sharrad back for a third shot at the title. “She walked in and basically dropped the mic. Said she’s here to win, and it lit a fire under everyone,” he said. “No one normally says that until three-quarters through filming. It was unreal.”
The returning All Stars aren’t just lifting the stakes, they’re setting the tone. “That energy rubs off. Everyone knows how life-changing this show can be. They don’t want to waste the opportunity.”
Allen, who won MasterChef in 2012, said that growth, both on and off the plate, remains the show’s real magic. “It’s an incubator of growth. Not just for cooks, but for people. And I don’t think that’ll ever change.”
Brand deals without the hard sell
And when it comes to brand integrations, increasingly critical in today’s commercial TV landscape, Allen praised the MasterChef production team for keeping it organic.
“They never force it. That’s a real skill. It doesn’t get shoved down the viewer’s throat,” he said. “You’re standing there, explaining a challenge, and it all just makes sense. That’s a credit to the production.”
With soaring ratings, international respect, and contestants pushing harder than ever, Allen believes the show is still hitting its stride. “We just need to keep doing what we’re doing, but do it better. There’s no need to stray from what’s made us one of the best in the world.”
MasterChef Australia: Back To Win 7.30pm On 10 And 10 Play
What really keeps 150 CMOs awake at night? Sherilyn Shackell unpacks the leadership challenge
“What’s really keeping CMOs awake at night?” asked Sherilyn Shackell, founder of The Marketing Academy, as she challenged a packed room at the 2025 AANA RESET to reflect on the deeper tensions driving modern marketing leadership.
Then, as any good leader does, she went straight to the source.
Shackell put the question to 150 APAC Fellows from The Marketing Academy via their WhatsApp group, asking: “What are the top two or three things keeping you awake at night?”
The responses are clear, candid, and strikingly aligned. Across industries and markets, the same core challenges emerged, echoing a collective anxiety among marketing leaders, especially with the top three.
- Will I be fired?
- The implication of AI
- My relationship with my CEO
According to Shackell, 90% of the CMOs surveyed said their number one fear was that will lose their job, a stark reminder of how precarious they feel the role of CMO has become.
In second place, 83% cited AI as a source of major anxiety, not just in terms of tools and tech, but the profound implications AI has on talent, creativity, brand relevance, and job security.
And a surprising but powerful third concern emerged with 75% of those asked saying that the quality of their relationship with their CEO keeps them awake. This is something Shackell believes is a critical relationship.
“If you think what’s keeping your CMO up at night is whether the latest campaign performs, you’re way off,” she said.
“That’s about 3% of their brain space.”
Shackell urged CMOs to put time and energy into “walking in the shoes” of their CEO to develop their relationship, as “only 10% of Fortune 250 CEOs have any marketing knowledge at all.
“So, if you are the CMO, you need to become the trusted adviser to your CEO, because you know everything; the competitor landscape, the customers’ heart rate, what the customers eat for breakfast, you’ve got data, you’ve got all of the information at your fingertips,” she said.
Shackell referred to McKinsey research study of 2023, which found that CEOs who place marketing at the core of their growth strategies are twice as likely to achieve more than 5% annual growth when compared to businesses that do not.
‘Differentiator in growth’
“The McKinsey research proved the relationship between the CEO and the CMO was the differentiator in growth,” Ms Shackell said.
“If the CEO really values the CMO, and if the CMO can elevate the relationship with that CEO to the right level, then that company will grow way more than any organisation that doesn’t do that,” she said.
And what else is keeping CMOs awake?
Unsurprisingly, 70% are concerned about their staff and hiring and retaining talent. The macro economic environemnt keeps 62% awake while the effectiveness of marketing accounts for around 50% of CMO’s sleepless nights.
Shackell acknowledged just how tough the CMO’s role can be in any company right now, but she also had some words of hope for the assembled crowd.
“Right now, even though the world is turning to s***, there is no more exciting time to be in our industry,” she said.
“The marketers, the CMOs, and the ecosystems that support them are the only way to write the future. So when the s*** hits the fan, this is quite an exciting place to be.”
Southern Cross Media doubles down on audio as it sells TV assets
Southern Cross Media Group Limited is making good on its ‘All About Audio’ strategy selling off its remaining regional TV assets to Seven West Media.
The sale, which includes TV licences in Tasmania, Spencer Gulf, Broken Hill, Mt Isa, Darwin, and Remote, Central and Eastern Australia, is set to be completed by 30 June 2025.
Southern Cross Media (SCM) will receive $3.75 million in upfront consideration, similar to its previously proposed deal with Australian Digital Holdings (ADH), which fell through due to unmet conditions.
The full proceeds from the deal are expected to fall between $19 million and $24 million, representing an EBITDA multiple of 4-5 times based on FY25 estimates.
This divestment is part of a broader strategic transformation for SCM, which is placing increased emphasis on its digital audio assets.
In an interview earlier this year, SCA CEO John Kelly hinted at the impending sale, saying it will allow the company to focus entirely on audio while strengthening its hyper-local approach to radio broadcasting.
John Kelly SCA
Southern Cross Media’s future in audio
The move follows the release of SCA’s financial results for the first half of FY25, which saw revenue rise 5.3% to $209.7 million and EBITDA up 24.6% to $24.1 million. Net profit after tax (NPAT), including discontinued operations, reached $3.2 million, reflecting a 5.5% increase year-on-year.
The company put down the positive momentum to its continued strength in metro and regional radio, expanding digital audio revenues, and disciplined cost management.
At the time Kelly again highlighted the company’s decisive shift towards digital and audio.
With its streaming platform LiSTNR now profitable and digital audio revenues up 48%, the sale once again reinforces SCA as Australia’s fastest-growing audio company.
The company’s shift is a direct response to the evolving media landscape, where audio consumption is on the rise and increasingly driving revenue growth.
Uber teams up with Chris McDonald for McDonald’s Australia return to Uber One campaign via Poem Group
Uber has teamed up with Hollywood actor and golfing purist, Chris McDonald (from Happy Gilmore and Thelma and Louise) as McDonald’s Australia returns to Uber’s membership program, Uber One.
In the launch spot McDonald, via Poem Group, famous for playing fiercely opinionated characters, takes a full-swing at open-invite club memberships to highlight what an outrage it is that simply anyone can get exclusive deals and good value using Uber One to order from Macca’s.
The film opens with the actor striding onto the first tee of an elite golf course, his caddy trailing behind as he clumsily balances golf equipment and an Uber Eats bag.
Despite being in his element, he looks displeased. McDonald reveals his agent set him up with an Uber One job that was meant to be about exclusive deals. But it turns out anyone can join. He commands his phone from his caddy, and without breaking stride, fires his agent on the spot before teeing up his golf ball.
“Uber One’s not exclusive. Anyone with a pulse and a smartphone can join. It’s one big pool of mediocrity… and discounts,” he says in the campaign.
Nicole Bardsley, Head of Marketing, Uber ANZ, said: “Collaborating with McDonald’s and the iconic Chris McDonald has been a hole in one moment to reinforce the egalitarian nature of Uber One – a membership for everyone.
“As well as poking fun at elitism we’re also celebrating $0 Delivery Fee on eligible orders^ from Macca’s for our members in an unforgettable way thanks to an ace effort from our creative team,” Bardsley added.
Senior Marketing Director for McDonald’s Australia Mary Vrančić said: “We’re thrilled to be partnering with Uber One to give Aussies more of the great value they know and love to their doorstep, and what better way to showcase it than with a show-stopping campaign like this.”
The integrated multichannel earned campaign has been led by Poem Group driving strategy, creative, influencer, content and publicity.
Rhania Farah, Poem General Manager, said: “Aussie audiences already adore Chris McDonald for his iconic roles, so teaming up with a Hollywood heavyweight was a no-brainer. We knew his cultural relevancy would produce quality content, drive social talkability and earn attention.”
The Uber One x Macca’s campaign featuring Chris McDonald launches on May 6 2025 and will be supported by a strategic amplification plan across paid, owned and earned. The launch film will be followed with shorter narratives, as well as social media.
Previous Uber activation examples and award-winning earned creative work delivered by Poem include Australia’s Second Car Uber Carshare with F1 Driver Valtteri Bottas and The Red Cross Clothing Drive featuring Selling Sunset star Chrishell Stause.
Credits
Client: Uber One
Director of Marketing, APAC: Andy Morley
Head of Marketing, ANZ: Nicole Bardsley
Senior Marketing Manager, ANZ: Olivia Sykes
Head of Communications (Delivery and Membership), ANZ: Nick Vindin
Communications Manager, ANZ: Bonnie Ko.
Creative Director, APAC: Adam Ledbury
Social Media Lead, ANZ: Chanelle Murray
Social Media Manager ANZ: Haley Evirgen
Strategy, Creative & Publicity: Poem
CEO: Rob Lowe
Managing Director: Katie Raleigh
General Manager: Rhania Farah
Creative Director: Tom Manning & former Creative Director, Jess Cluff
Executive Director, Strategy & Social: Alex Watts
Senior Account Director: Chelsea Wright
Account Director: Robbie Purcell
Senior Account Manager: Katie Scanlan
Account Manager: Georgia Tiernan
Publicist: Rebecca Patterson
Production:
Director: Tim Green
DOP: Sam Chiplin
Producer: Hattie Morgan
Producer: Honae MacNeill
Junior Art Director: Ruby Clarke
Partners: McDonald’s
Assistant Brand Manager: Emily Xu
Brand Manager: Tim Bothwell
Media agency: EssenceMediacom
Retail Agency: Hatched
Top image: Chris McDonald
‘A chance to reflect’: Man of Many boss Scott Purcell on winning Mediaweek’s Next of the Best
Scott Purcell, co-founder of Man of Many, says winning at Mediaweek’s Next of the Best awards in 2024 was more than just a professional nod, it was a rare opportunity to take stock.
“I’ve now been involved in publishing for over 11 years. So it’s really nice to get that recognition,” he told Mediaweek in our podcast series in which we revisit last year’s winners. “It was really fun. We had a few radio DJs on our table who were cracking jokes. It was really good fun,” he said.
Scott Purcell, Man of Many
From housemates to media founders
Before Man of Many became one of Australia’s fastest-growing men’s lifestyle platforms, it started as a side project between housemates.
“So Frank Arthur, my current business partner, and I were housemates at the time. We started Man of Many as a bit of a hobby,” Purcell said. “The word side-hustle didn’t even exist at the time. I knew the time had come to quit my job when I’d get to work and all I’d want to do is get back home to work on Man of Many.”
In the early days, consistency was everything. “There were a lot of late nights staying up late to try and make sure we were consistent, so every time someone came to the site, there was something new to look at.”
You can listen here:
Broadening the brief
Over the years, Man of Many has shifted from a product-focused blog to a full-spectrum digital lifestyle publication.
“So it’s kind of evolved from being very product focused to now more lifestyle focused,” Purcell said. “A lot of celebrity interviews, health and wellness advice. And we’ve been really focused on driving forward our quarterly digital covers, which is a big project for us, so yeah, it’s been really exciting.”
This evolution has been matched with a strategic shift in brand partnerships, balancing editorial integrity with effective amplification.
“We know we have the stats that people see brands more favourably when they see them featured on Man of Many. And we’ve always known anecdotally that we’ve been able to drive a huge amount of traffic and sales for brands featured on our site.”
Man of Many co-founders Scott Purcell and Frank Arthur
Finding a voice in video
As publishers embrace multimedia, Man of Many has been ramping up its video output with a sharp focus on relatability and authenticity.
“I think that we’re finding our tone of voice in video, it’s something that we’re pushing quite heavily into,” Purcell said. “We’ve got our Monday Munchies series on YouTube, as well as Rev Up and Sweet Spot, where we go around to various locations.”
“But I think with all of it, we want to make sure it’s really relatable, explaining why people should care about the things that we’re covering. Remaining authentic to who we are is really important.”
Adapting to search, AI and reader relationships
Looking ahead, Man of Many is preparing for a future less reliant on traditional search, and more focused on direct relationships.
“Search is one of the biggest drivers of traffic to a lot of online publishers,” Purcell said. “But with AI, it’ll look completely different as a platform in the next two to three years.”
In response, the brand is preparing to launch a membership model. “We’re about to launch our user sign-in and membership platform so we can offer more personalisation and greater access to our readership, with unique offerings, discounts, access to certain products or events.”
Why awards like Next of the Best matter
For Purcell, entering Mediaweek’’ Next of the Best wasn’t just about recognition, it was about reflection.
“I think this is a pretty rare occasion where you can put yourself forward for something like this. Everyone should really take those opportunities when they can,” he said.
ACCC appoints Sarah Proudfoot as CEO
The ACCC has named Sarah Proudfoot chief executive officer.
Proudfoot began with the ACCC/AER in 2005 when she joined the agency’s Infocentre and has held a range of senior roles in the agency, including executive general manager of the ACCC Infrastructure Division between 2020 and 2024.
She oversaw of the government regulator’s work across telecommunications, rail, ports, airports, electricity and gas as well as the 2023 Childcare Inquiry.
Proudfoot was appointed executive general manager of the ACCC’s National Anti-Scam Centre in August 2024 and has been acting chief executive since February 2025.
“During her career Sarah has consistently demonstrated her ability as an outstanding strategic leader with personal drive, credibility and integrity, and a strong commitment to public service,” ACCC Chair Gina Cass-Gottlieb said.
“I am confident that with Sarah’s contribution as CEO leading our capable people, our agency will continue to deliver important outcomes for the Australian economy and community.”
Proudfoot said of her new role: “One of the many things I’ve loved in my time at the ACCC is the fact our work makes a difference to people’s lives every day.
“It is a significant responsibility and privilege to take on the role of CEO and to work with Commissioners and our talented, dedicated team in the interests of consumers and protecting competition across our economy,” she added.
The ACCC was among the regulators that provided its approval for News Corp to finalise the sale of Foxtel Group to global sports streaming platform DAZN earlier this year, marking the end of a decades-long chapter for one of Australia’s most influential pay TV providers. As part of the deal, News Corp received repayment of A$592 million in shareholder loans and has secured a minority equity stake of approximately 6% in DAZN.
Top image: Sarah Proudfoot
IMAA opens applications for second Pitch-Chella program
The Independent Media Agencies of Australia (IMAA) has opened applications for the second ‘Pitch-Chella’ program, following the success of last year’s inaugural event.
Pitch-Chella initiative is an industry-first program, designed to showcase and support emerging indie agency talent. Staff are encouraged to collaborate, think outside the box and share knowledge to enhance their pitching skills.
Applications are now open for this year’s program, which is proudly sponsored by Audience360 and supported by Meta, NewsCorp Australia and Pinterest, with teams set to provide a written response to a brief from national charity, Mission Australia.
The top eight teams will then be selected to deliver a live pitch before a judging panel of industry experts, including sponsor Audience360 Managing Director, Jenny Parkes, TrinityP3 Global Media Lead, Stephen Wright, Tumbleturn Marketing Advisory Partner, Daniel Johns, Sparrow’s Nest Consulting’s Greg ‘Sparrow’ Graham, and Orand Founder and Senior Media Consultant, Adam Hickey.
Winners will be announced at an award ceremony at Melbourne’s Bells Hotel on Thursday, July 17.
The first-ever Pitch-Chella event attracted 76 participants, representing 21 indie agencies. Independent agency Enigma took out the overall program last year, with a combined team from indie agencies Assembled Media and Hatched receiving the silver award. The Media Store took out the bronze award.
“At its core, Pitch-Chella embraces the creative minds of our upcoming indie talent, championing fresh perspectives and bold ideas that will shape the future of the industry,” Mike Wilson, IMAA Leadership Team Member and Hatched Chairman, said.
“This is a chance for our indie talent to think creatively – we’re looking for innovative, cross-channel thinking; from traditional and digital media to unexpected activations and social-led storytelling. We want to be surprised and inspired – the best pitches won’t just respond to the brief – they’ll reimagine what’s possible.”
Tracy Meyer, Media Executive at Enigma, and part of the team that took out the overall program in 2024, said: “Taking part in Pitch-Chella reminded me why I love this industry. It was fast-paced, fun, and packed with brilliant minds. Winning Pitch-Chella was one of the most rewarding experiences of my career so far. It pushed me out of my comfort zone, challenged my thinking, and gave me a platform to showcase a different way of thinking.
“The feedback and exposure from industry leaders were invaluable, and the experience gave me a real confidence boost not just in pitching, but in backing myself. I walked away with new skills, meaningful connections, and a deeper appreciation for the power of bold ideas and creative risk-taking.”
Pitch-Chella entries are open to IMAA members who have been in the media industry for less than five years. Applications for the 2025 program close on Friday, May 9. Finalists will be announced on Tuesday, June 24, while virtual pitches will take place on Wednesday, July 2.
The 2025 Pitch-Chella initiative is spearheaded by a steering committee of independent agency leaders including Mike Wilson (Hatched), Lisa Blackshaw (Co.Gency) and Taylor Fielding (TFM Digital), along with the IMAA team.
Top image: 2024 winners Enigma
Uniqlo delivers premium gifting experience ahead of Mother’s Day via 1000heads
Uniqlo has teamed up with 1000heads to deliver a premium gifting experience at Chadstone Shopping Centre in Melbourne to celebrate Mother’s Day on 11 May, 2025.
The Cashmere Workshop activation reimagines retail engagement, transforming a high-traffic location into a sensory-rich showcase of Uniqlo’s elevated cashmere offering.
Running across multiple days, the activation draws shoppers into an immersive environment where over 30 colourways of Uniqlo’s cashmere range is available and on display. Designed to invite tactile exploration, the space highlights the versatility, softness, and craftsmanship behind the brand’s luxurious knitwear line.
At the core of the experience is a personalisation station, where customers can embroider their initials into their chosen cashmere pieces. This immediate, on-the-spot customisation transforms each garment into a meaningful, one-of-a-kind gift—ideal for Mother’s Day, and reinforces Uniqlo’s values of quality, care, and thoughtful design.
Uniqlo’s beautifully personalised gift and a lasting impression
The Cashmere Workshop exemplifies Uniqlo’s evolving approach to experience-led retail—where product discovery, personalisation, and emotional resonance intersect to build stronger customer relationships. By turning gifting into a moment of connection, the brand is positioning itself as both a destination for premium essentials and a curator of meaningful experiences.
This campaign builds on Uniqlo and 1000heads’ ongoing partnership, delivering regular activations that blend brand strategy with cultural insight to drive engagement, conversion, and long-term brand loyalty.
“Uniqlo’s Cashmere Workshop Pop-Up was designed to bring the premium quality of Uniqlo’s 100% Cashmere to life through a personalised and immersive experience,” Molly Condon, Uniqlo Australia, campaign marketing manager, said.
“By offering complimentary embroidery and gift wrapping upon purchase of a 100% Cashmere piece, we aimed to elevate the product’s appeal while aligning with key seasonal moments like Mother’s Day. This event has not only driven sales and engagement but also reinforced Uniqlo’s commitment to meaningful, locally relevant customer experiences that reflect Uniqlo’s focus on craftsmanship, affordability, and innovation.”
Lena Habkouk, 1000heads head of client growth, added: “This Mother’s Day, our goal was to create a unique and memorable experience that felt both personal and premium. To achieve this, we created the Uniqlo Cashmere Workshop to transport customers into the heart of a charming embroidery studio – where customers could witness the artistry firsthand.
“Every detail was thoughtfully curated to highlight the exceptional quality of Uniqlo’s cashmere collection, leaving customers with a beautifully personalised gift and a lasting impression.”
CREDITS
Social Transformation and Creative Agency: 1000heads
Fiona Harris – General Manager
Lena Habkouk – Head of Client Growth
Daniel Koublachvili – Creative Technology Director
Mark Lloyd – Group Account Director
Simran Lala – Senior Social Executive
Christel Chong – Senior Creative
Theobe Li – Event Manager
Joshua Wong – Designer
Set builders: Alchemy Co Set Builder
Charlie McDonald – Logistics Manager
Emily Lloyd – Project Manager
Anthony Shone – Production Manager
UNIQLO
Molly Condon – Campaign Marketing Manager
James Chan – Campaign Marketing Manager
Sherry Li – Head of Marketing and PR
BabyLove makes nappy changes ‘Easy Peasy’ via Communicado
BabyLove has launched a new campaign for Nappy Pants developed with Communicado.
Nappy Pants can be pulled straight up while a toddler is standing, so they’re easier to change than regular tab nappies, and tearaway side seams mean they can be removed just as easily.
The integrated agency developed the ‘Easy Peasy, Changing’s Easy’ campaign to demonstrate the behaviours that signal when it’s time to start using BabyLove Nappy Pants, helping parents make the easiest change ever.
Annie Price said: ‘Anyone with a wriggler, squirmer or escapee is going to immediately resonate with this lighthearted spot.’
‘Easy Peasy, Changing’s Easy’ reflects the ‘for real life’ attitude of the BabyLove brand and the fun, effortless style and personality of the Bluey characters that appear on Nappy Pants themselves.
Communicado’s Executive Creative Director Annie Price said: “We’re all about telling it like it is with BabyLove – Real, relatable moments, not idealised depictions of parenting. And anyone with a wriggler, squirmer or escapee is going to immediately resonate with this lighthearted spot.”
Unicharm Australasia Brand Manager Amer Haq, added: “We are very excited with the campaign. It conveys one simple message and highlights just how much easier BabyLove Nappy Pants with Bluey prints are. No tabs and no need to lie down for nappy changes – perfect for toddlers on the move.”
Amer Haq: ‘We are very excited with the campaign. It conveys one simple message and highlights just how much easier BabyLove Nappy Pants with Bluey prints are.’
CREDITS
Client: Unicharm Australasia
General Manager Marketing: Michael Joel
Senior Brand Manager, Nappy Pants: Amer Haq
Brand Manager, Nappy Pants: Rebecca Petrolo
Digital Marketing Specialist: Riya Agrawal
Creative Agency: Communicado
Executive Creative Director: Annie Price
Associate CD/Writer: Chris Buchanan
Associate CD/Art Director: Simon Fleming
Integrated Strategist: Daniel Hedger
Group Account Director: Wil de Souza
Account Manager: Narayanan Subramani
Digital Producer: Amy Greer
PR Account Director: Claudia Frederick
PR Account Manager: Angie Darras
Media Agency: Cole Media
General Manager: Candice Cole
Digital Directors: Anya Subberwal and Robyn Cameron
Director: Jon Webb
Camera Assist: Joey Hughes
Producer: Kalliroy Edlin
Styling: Milana De Mina
Hair & makeup: Samantha Coles
Sound: Production Alley
Photography: Jon Webb
Stills assist: Dion Bromage
Editor: Jon Holmes
HOYTS launches Xtremescreen experience with new campaign
HOYTS has rolled out a new campaign to showcase and expand its HOYTS Xtremescreen experience, where movies are not just watched, they are made Xtreme.
HOYTS Xtremescreen combines Xtreme Sound, Xtreme Comfort and Xtreme Size on a truly epic scale. The cinema puts Xtremescreen centre stage with a major new marketing push across digital, out-of-home, programmatic, radio and in-cinema channels, ensuring more cinemagoers can experience movies at their biggest and best.
Already a firm favourite across Australia and New Zealand, HOYTS Xtremescreen delivers an unforgettable cinema experience, combining Xtreme Sound, Xtreme Comfort and Xtreme Size on a truly epic scale. Now, the cinema brand is putting Xtremescreen centre stage with a major new marketing push across digital, out-of-home, programmatic, radio and in-cinema channels, ensuring more cinemagoers can experience movies at their biggest and best.
Damian Keogh, HOYTS Group CEO & President, said the campaign comes at a time when audiences are seeking deeper, more immersive entertainment experiences.
“With HOYTS Xtremescreen, you are not just watching a story, you are stepping inside it,” Keogh said.
“HOYTS has always been at the forefront of innovation, and this campaign is about reminding audiences just how incredible the big-screen experience can be, with bigger screens, bigger sound and bigger moments.
“From breathtaking visuals and powerful surround sound to spacious seating and premium comfort, HOYTS Xtremescreen is designed to take every cinema visit to the next level. And with even more HOYTS Xtremescreen locations rolling out, it is now easier than ever to experience the ultimate movie moment.”
The campaign captures the electrifying energy of HOYTS Xtremescreen, offering something for every movie lover, whether you are chasing adrenaline, laughs, nostalgia or thrills.
HOYTS Xtremescreen is the ultimate way to catch the biggest blockbusters lighting up the screen all through the year. Get ready for edge-of-your-seat action with Marvel’s latest epic Thunderbolts (1 May), the return of a cult classic with Final Destination: Bloodlines (15 May), and the heart-racing finale Mission: Impossible – The Final Reckoning (17 May).
The cinema brand continues to lead the market in premium large-format cinema, with 78 HOYTS Xtremescreens across 44 locations in Australia and New Zealand, the largest network of its kind in the region.
Creative credits:
The HOYTS Group
Chief Executive Officer & President: Damian Keogh
Director – Sales, Marketing & Content: Stephanie Mills
General Manager – Customer Engagement: Brad Eaton
Brand, PR, Social Media and Community Marketing Manager: Rachael Barbarino
The Studio – The HOYTS Group
Creative Services Manager: Cate Murray
Creative Producer: Sam Moss
Creative Producer: Rita Mrad
Studio Pancho
Managing Director: Patrick Salter
Post Producer: George Stone
Assembled Media promotes two senior team members
Assembled Media has promoted two senior team members as it continues to build on impact, innovation, and client success.
Samantha Murphy steps up from her previous role as Client Manager to Client Director at the data-led media planning and buying agency. Over the past three years at Assembled Media, Murphy has played a pivotal role in delivering award-winning work and cultivating trusted client relationships.
“I’m incredibly excited to be moving into the role of Client Director at Assembled Media,” said Murphy. “The journey from Client Manager to this next chapter has been shaped by the brilliant people around me and the clients who inspire better thinking every day.”
She added, “I’m excited to deepen relationships, drive even greater impact, and help our clients grow with bold, smart strategies. The best work is still ahead.”
Joining Murphy in this wave of growth is Alex (AJ) James, who has been promoted to Head of Digital Activations. In their new role, James will lead the agency’s integrated digital activation services, overseeing the most effective strategies across current and emerging digital platforms.
“It’s an incredible opportunity to step up and lead across the wider digital ecosystem, and I can’t wait to champion our amazing team in this space. My focus remains firmly set on keeping our clients on the leading edge of digital and social strategies,” James said.
Gareth Nicholls, Assembled Media’s Managing Director, celebrated both promotions as a testament to the agency’s impact-led culture and the calibre of its people.
“I’m incredibly proud to recognise these two well-deserved promotions. At Assembled, we don’t promote based on tenure – we promote based on impact,” said Nicholls.
“Both Sam and AJ have consistently delivered exceptional outcomes for our clients, shaped smarter solutions, and embodied the values that make Assembled different. Their progression is a direct reflection of the trust our clients place in us and the results we’ve achieved together.”
Top image: Samantha Murphy and Alex (AJ) James
Paper Moose launches creative testing tool
Paper Moose has rolled out Moose Review, a hybrid testing tool that uses human and AI data to pre-test creative concepts.
The testing tool is the first flagship product to be launched as a result of Paper Moose’s commitment to turning cutting-edge technology into practical, easy-to-use tools. In development for over a year, the platform empowers brands to conduct rich qualitative pre-testing, achieving what used to require tens of thousands of dollars and weeks of time in mere minutes and a fraction of the cost.
Moose Review helps to get a broad set of views and opinions that might otherwise be overlooked, by fusing best-in-class marketing science with human and synthetic audiences or ‘synths’ as they are fondly referred to in-house.
Joshua Flowers and Nick Hunter
The launch coincides with agency co-founder Joshua Flowers stepping up as Invention Chief to lead the charge on innovation, AI integration and next-gen creative services of the Sydney-based B Corp indie creative agency.
Flowers said of the new tool: “AI hype is intense, and yet very few applications of the technology in this industry are actually providing value. We’ve been working hard to develop tools from scratch to provide actually useful, marketing science backed insights.
“Our goal is to enable CMOs and marketing teams to make more informed decisions without the gigantic price tag and multi week wait times of traditional focus group testing. Moose Review provides actionable insights with human reviewers in as little as 10 minutes, and synthetic reviews in literally less than a minute.
“The ability to test as early as scripts and scamp KVs and as often as necessary is profound.’‘Being fiercely independent allows us to iterate on tools like this quickly without bureaucracy dragging us down.”
Nick Hunter, Paper Moose co-founder, said: “We’re harnessing the same powerful technologies as the large holding company agencies with none of the frustrating baggage.
“This agility gives our clients the advantage to be hyper-competitive, efficient, and confident their marketing investments deliver measurable effectiveness.
“We’ve been quietly inventing, prototyping, and proving these tools internally for years,’ said Nick. ‘Now it’s time we share our work with the world. We’re ready to partner with forward-thinking CMOs looking to get to high quality and actionable insights faster.”
As algorithms kill wonder, brand experiences must reclaim our lost curiosity
I remember when getting lost in thought meant exploring a quirky side street or stumbling upon a hidden café. These days, my curiosity often feels hijacked by algorithm-fed content and endless scrolls of familiar posts. The magic of discovery has been largely outsourced. But beneath the surface of our digital routines, the spark of genuine wonder still flickers, just waiting for brands to fan it into flame.
Curiosity is the lifeblood of human progress, pushing us to question the familiar and explore new frontiers. It fuels creativity and innovation, prompting us to challenge assumptions and uncover deeper truths about our world. At a time where information is abundant and easily accessible, it is curiosity that compels us to look beyond the surface and seek out meaningful experiences.
Coca-Cola chairman and CEO James Quincey laid it out at the recent Adobe Summit in the US. As AI-generated content floods every corner of our screens, live experiences will become “the only thing you can’t avoid”. He warned that consumers are no longer satisfied with a barrage of uninspiring content. Instead, they are ready to embrace genuine, creative moments that break the mould of passive consumption.
And that digital consumption itself is also on the decline, with research from Dr. Gloria Mark, Chancellor’s Professor of Informatics at the University of California, indicating that the average attention span on a screen has decreased from 2.5 minutes in 2004 to just 47 seconds in recent years.
Meredith Cranmer
Therefore, it is no longer enough for marketers and brands to simply feed us information or quirky videos and memes if they want to drive real outcomes – brands need to ignite experiences that spark wonder and invite deeper engagement, building deeper and long-lasting connections with consumers who are longing for more than a quick hit digital fix.
And we have examples of some doing it well. Airbnb has launched ‘Categories’, inviting guests to explore stays ranging from castles to treehouses and even off-grid properties. They are not just renting out rooms but offering a passport to adventure that taps into our innate desire to discover the unexpected.
With ‘Icons’, another new Airbnb category, people can enjoy experiences never previously available, such as spending the night in the floating house from the film ‘Up’, spending the night in the Ferrari Museum or a stay in Prince’s Purple Rain house. Brian Chesky, Airbnb co-founder and CEO, captures it perfectly: “As life becomes increasingly digital, we’re focused on bringing more magic into the real world… we’ve created the most extraordinary experiences on earth.”
In Australia, Secret Foodies is revolutionising how we experience culinary adventures. By orchestrating secret dining events shrouded in mystery until the last minute, the brand creates a palpable buzz and a sense of exclusivity that traditional restaurant bookings simply cannot match.
Red Bull also knows how to play the mystery card. Its ‘Unforseen’ events are notorious for keeping details under wraps, offering just enough information to pique curiosity without giving away the full story. This strategy transforms every Red Bull event into an invitation to participate in a larger-than-life experience – a chance to break away from the mundane and dive into something genuinely exciting.
Independent brand strategist, Eugene Healey, captured the essence of this shift perfectly. “When everyone goes broad, it becomes cool to go deep. The coolest people in our society right now are the ones who are the most deeply obsessed with their hobbies and passions.”
It’s also apparent there is a growing appetite from marketers to embrace real-life, in-person, connections. In 2024, spending on experiential marketing was expected to hit US$128.35 billion – rising to above pre-pandemic levels for the first time, according to PQ Media’s B2C and B2B Experiential Marketing Forecast 2024-2028. This trend was confirmed in the US where American consumer spending on experiences during the 12 months ending August 2024 rose by 32%, according to Earnest Analytics.
As AI continues to democratise access to general knowledge, space needs to be left for those who choose to pursue niche interests with a fervour and curiosity that truly stands out. Where broad, superficial understanding is the norm, depth and dedication have become the ultimate status symbols.
Brands must act as catalysts for curiosity, providing spaces where consumers are invited to explore, interact, and engage on a more profound level. The ones that will succeed are not those that have the most content but the ones that make us stop scrolling and start wondering, because the pursuit of genuine, unfiltered experiences remains at the heart of what makes us human.
Election 2025
Snark doesn’t sell: why voters rejected the media’s favourite game
In the editorial by Christopher Warren in Crikey, Warren writes that across the country, the loudest voices, cheered on by columnists and talk shows, were quietly sidelined.
Shrill rent-a-quotes from all sides of politics, once rewarded with wall-to-wall airtime and viral clips, found themselves out of favour with a public craving civility over conflict.
Media stunned as voters deliver an Albanese avalanche
As Daisy Dumas reports in The Guardian Australia, his triumph was framed as a surprise, even to those who backed him.
The publication has collected some of the boldest media claims following Albanese’s win, with many showing the tone was part disbelief, part derision.
Legal
Taylor Auerbach admits to leaking texts in defamation drama twist
According to Stephen Rice in The Australian, the admission was revealed in fresh court filings, comes as Seven sues Auerbach for breaching confidentiality terms tied to his exit deal.
The network claims the leak was a calculated move to damage its reputation and violate their settlement.
Roberts-Smith’s ex threatens to sue ABC over Media Watch claim
Lawyers for the woman, known as Person 17, have sent a concerns notice to the broadcaster, calling the claim “false and seriously defamatory,” according to The Australian.
As The Daily Telegraph reports, The recording, aired by Sky News, has since rocked Roberts-Smith’s defamation appeal.
Journalism
Melbourne restaurant critic steps into the spotlight after two decades
In this reflective piece published in The Age, Rodell pushes back against the common claim that anonymity no longer matters, arguing that it absolutely does, and she’s seen firsthand how much treatment can shift when a critic is recognised.
Still, she’s stepping out of the shadows, acknowledging that the job, and the industry, have changed.
Tech
Google spends big on AI as its own business model comes under threat
Parent company Alphabet shelled out $A27.4 billion last quarter, while still beating profit expectations with $A47.4 billion in operating income.
But, as Jared Lynch writes in The Australian, investors weren’t reassured, as shares have fallen more than 18 per cent since January.
Meta AI chats are going public, and users may not realise it
As Cam Wilson writes in Crikey, the tech giant quietly launched a public Discover Feed alongside its new Meta AI app, showcasing conversations in real time.
While some entries are playful or bizarre, others reveal surprisingly sensitive content.
Meta’s AI chatbots raise alarms over sexual role-play with users, including minors
Staff have raised red flags about bots engaging in sexually explicit fantasy chats, including with underage users, and flagged concerns about synthetic personas being used for romantic role-play, despite being fronted by celebrities like John Cena and Kristen Bell.
As Jeff Horwitz reports in The Australian, despite Meta’s assurances that celebrity voices wouldn’t be used in explicit content, tests found bots (including some mimicking minors) still flirted, sexted, and crossed lines, even when users made their age clear.
Radio
Dee Dee Dunleavy returns to the mic after shock 3AW exit
The veteran broadcaster has now returned with a new true crime podcast, which she researched and wrote herself over 18 months, but nearly abandoned out of fear.
As Jackie Epstein writes in The Herald Sun, Dunleavy said she “stalled” and “needed a push”, crediting podcast producer Mike Liberale for helping her finish.
Television
Spotlight’s Jock Zonfrillo special loses ratings cook-off
As Annette Sharp reports on news.com.au, Liz Hayes’ sit-down with Lauren Fried drew 418,000 metro and BVOD viewers, 26,000 fewer than Nine’s 60 Minutes, which aired in the same slot but started five minutes later.
Seven quietly left the numbers out of its Monday press release, after the much-hyped special failed to serve up a ratings hit.
Retail
Pubs pour profits as bottleshops take a hit for Endeavour
Dan Murphy’s and BWS dragged retail turnover down 3.1% to $2.33 billion, as price-conscious shoppers held back and promotions squeezed margins.
As Eli Greenblat writes in The Australian, industrial action at Woolworths’ warehouses before Christmas didn’t help, with supply issues still lingering.
Harris Farm shelled out $10m dividend despite big software stumble
As Carrie LaFrenz writes in The Australian Financial Review, the high-end grocer also breached its banking covenants during the year.
Losses more than tripled from $6.2 million the previous year, despite sales climbing 5.6% to $788 million in the 12 months to June 2024, according to filings with the corporate watchdog.