Omnicom Media Group Australia has made two major internal leadership moves, naming Laura Nice as CEO of PHD Australia and Sian Whitnall as sole CEO of OMD Australia.

The pair previously steered OMD together, delivering double-digit growth and top-tier client satisfaction over four years in one of the most competitive markets in media.

Fresh leadership for a future-fit network

Nice steps into PHD with a brief to accelerate growth and innovation, bringing her trademark blend of commercial sharpness and client-led strategy.

She replaces Mark Jarrett, who’s set to take on a group-level role to be announced in the coming weeks.

Whitnall will continue OMD’s run as Australia’s number-one media agency, according to RECMA, leaning into creativity, collaboration and standout brand experiences to keep clients ahead of the curve.

Building from within

OMG Australia COO Kristiaan Kroon said the appointments signal a commitment to nurturing home-grown leadership as the group prepares for its next chapter under the new Omnicom Oceania structure.

“Laura and Sian exemplify our culture of building leaders who prioritise client success,” he said, noting the shift positions the group to scale its offering and strengthen partnerships across the region.

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Paramount Australia has laid out its 2026 strategy, leaning into unified video buying, CTV distribution, attention-based measurement and a slate stacked with premium local content and sport, as competition across streaming and broadcast intensifies.

The network has spent the past year building Paramount Connect 2.0 – a simplification play designed to collapse workflows and sharpen commercial impact across 10 and Paramount+.

Chief sales officer Rod Prosser said the mission has been to remove friction and meet agencies where the market is heading.

“We really understand it isn’t one-size-fits-all. You’re not going to go through one front door to access our inventory and shows, so we had to build out Connect,” Prosser told Mediaweek.

“We’ve spent 12 months building the model, trialling and testing – now it’s fully stood up, which is the exciting part.”

At the core sits Paramount Connect Streaming, with unified proposals, single-transaction execution, and a roadmap to Paramount Connect Total Video – a single window for cross-screen trading once linear joins the stack.

“TV buying has traditionally been onerous,” Prosser said. “We wanted to build an ad-tech stack that takes the friction out, reduces time spent on buying and lets us pick up the heavy lifting. It’s purpose-built to plug into systems – and if we need to sit alongside other media or B2B platforms later, we can.”

CTV scale, LG Channels and data depth

Paramount also expanded its CTV footprint, securing exclusive ad sales for LG Channels – giving access to more than 130 FAST streams and tapping into a rapidly growing smart-TV audience.

“FAST delivers valuable audiences, especially under-40s,” Prosser said.

“This rounds out our LG partnership – distribution, prominence on screens, linear IP feeds to TV sets, and now ads.”

With LG’s ACR data and Adelaide attention scoring now flowing into Paramount’s stack, he argues the proposition is sharper: “It sits outside standard measurement and lets us understand the impact of premium environments on viewer intention. Combined with our existing partners, it’s a powerful ROI framework.”

Innovation agenda: contextual ads and attention as currency

Paramount’s ad-innovation unit continues to push real-time formats.

The network completes its contextual suite this quarter with Own the Moment and contextual ads in Big Brother, after Pause-to-Shop in MasterChef exceeded global interaction benchmarks.

“Contextual identifies moments and scenes – products, emotions, birthdays – and ads can be delivered seamlessly around them,” Prosser said. “AI can even pick up emotional tone. There’s real appetite for new formats.”

And it’s already got the tick of approval from the brands.

Ryan Ambrose, PHD Head of Partnerships Melbourne, said: “Through Paramount’s Contextual Ads McCain’s Pickers can show up in the exact right moments of the show, matching the tone, humour, and spontaneity that the brand is known for. It’s a clever and natural fit that enhances both the content and the viewer experience.”

Kerv.ai powers the scene-level smarts, with FreeWheel enabling delivery.

“We’ve pioneered ad innovation among broadcasters,” he added. “Because it’s tech-based, it’s fast. When an advertiser wants on, we move quickly.”

The addition of Adelaide’s AU attention score further shifts Paramount’s video narrative toward performance and real-world outcomes.

“Attention has become critical,” Prosser said. “It’s accountability – and it’s where premium streaming wins.”

Australian stories, global engines and a sports-forward pitch

On screen, Paramount+ is balancing home-grown drama, international franchises and live sport. VP of content Tamara Simoneau said the strategy reflects audience breadth and cultural impact.

“Australia has a love affair with sport – any sport we can get our hands on,” she said.

“The F1 rolling into the Matildas’ Asian Cup matches – it’ll be an epic day on TV. No one will be watching anything else.”

Dalliance and Two Years Later lead the 2026 local slate, alongside returning Last King of the Cross, Ghosts Australia and NCIS: Sydney.

Reality continues to anchor primetime, with Survivor refreshed under new host David Genat and Big Brother returning to Dreamworld with a back-to-basics experience.

“We always try to reach a family audience,” Simoneau said. “Survivor is fun family viewing – a bit scary, a bit weird – kids love it. And Big Brother is going back to the OG: live stream, live evictions, modern house.”

The mix of nostalgia, premium drama and event sport is deliberate. “Event-based sport brings in ad dollars; the return makes sense,” she said.

“And we also need premium drama with international potential. It’s a balance – prestige, family, fandom and community.”

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Twenty-four years after Gretel Killeen first ushered viewers through the Dreamworld doors, Big Brother is going back to where it all began.

Channel 10 is reviving the original format – live evictions, nightly episodes, the works – in what Paramount’s head of unscripted, Sarah Thornton, calls “a return to the DNA that made the show magic.”

“I’d be lying if I said I didn’t have a soft spot in my heart for Big Brother – and I think many Australians feel the same way,” Thornton told Mediaweek.

“It’s a brand that already carries a lot of affection. We felt the only way to bring it back was to really lean into its origins on 10. There’s an opportunity for innovation here, not just nostalgia.”

Nostalgia with a modern twist

Thornton said the team wanted to “revert to the original format: six days a week, with live evictions and nominations – really interactive with the viewer, but in new and exciting ways.”

The revival will again hand power back to the audience. “We’re letting the audience decide which housemate should win. That’s part of the DNA – giving the viewer a voice within the show,” she said.

Early fan involvement is already shaping the production, with viewers voting on design elements via TikTok and Instagram.

“Some of the casting went up on YouTube, and we’ve used polls to ask fans about house colours and features. So even before the show has begun, the audience has already influenced decisions we’re making,” Thornton said. “Because it’s a live show with a fast turnaround, even post-produced episodes can adapt to what we’re hearing online.”

Letting the experiment play out

At its core, Thornton said, Big Brother remains a social experiment. “If you don’t let it play out as an experiment, how can you claim that it is?” she said. “For us, that’s really important – letting things happen, even if it means we’re a bit rough around the edges from time to time.”

Behind the scenes, she described the delicate balancing act required to maintain authenticity while keeping the show entertaining and legally safe.

“It sounds simple, but there’s a lot involved in making sure it’s real, engaging and that we don’t defame anyone,” she said with a laugh. “That’s the trick – having a production team with the experience to know when to step in and when to step back.”

Thornton hinted at surprises to come.

“Big Brother has plenty of tricks up his sleeve. Ideally, we won’t need to use all of them – because so much will be happening naturally. But there will be fun and games, some happy surprises, some not-so-happy ones,” she teased.

“And don’t be surprised,” she added, “if Big Sister turns up this season.”

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Kyle Sandilands has received promising news about his health, with recent scans revealing no change to a brain aneurysm first diagnosed earlier this year.

According to The Sydney Morning Herald’s Calum Jaspan, the KIIS FM host has been undergoing routine scans every three months since the discovery, and sources close to him say the aneurysm “hasn’t grown.”

It’s a steady result after months of close observation, and one that’s given the broadcaster a welcome dose of relief.

Doctors have reportedly decided against surgical intervention, citing the aneurysm’s unusual shape – a configuration that makes the potential dangers of an operation roughly equal to the risks of leaving it alone.

For now, the best course of action is regular monitoring, not surgery.

From scare to steady ground

Sandilands first revealed his diagnosis live on air back in February, telling listeners that doctors had recommended “immediate attention” after finding the aneurysm during a routine check-up.

In his typically unfiltered way, he explained it as “a bike tyre with a big bubble” and joked that if it burst, “you might get your wish – I might be dead.”

His candour about the condition drew both alarm and sympathy from fans, with many commending his openness about the risks while continuing to broadcast daily on The Kyle & Jackie O Show.

Understanding the condition

Medical experts describe a brain aneurysm as a bulge or ballooning in a blood vessel that, while potentially serious, is often harmless if stable.

According to the Mayo Clinic, most aneurysms don’t rupture or cause symptoms, and many are discovered incidentally during scans for unrelated issues.

If an aneurysm bursts, however, it can quickly become life-threatening and requires emergency treatment.

In Sandilands’ case, doctors have opted for a watch-and-manage approach – a cautious but common strategy that focuses on long-term observation and lifestyle monitoring.

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Atomic 212° has elevated long-time executive Lorraine Woods to the newly created role of Chief Investment & Operations Officer, reporting directly to CEO Rory Heffernan.

Effective immediately, Woods will oversee operational excellence across Atomic 212°’s national footprint, integrating emerging technology, optimising resources, and ensuring process consistency across its offices in Melbourne, Brisbane, Darwin and Adelaide.

Woods, who joined the agency in 2016 as National Group Trading Director, has since become one of its most influential leaders – most recently serving as Chief Investment & Trading Officer.

Her expanded remit reflects Atomic 212°’s ongoing push to future-proof operations as it scales AI-enabled systems and data-driven performance.

Rory Heffernan

“Foundational leader” driving growth

“Lorraine is a foundational leader within Atomic 212°, and a huge part of the remarkable success we’ve had to date,” Heffernan said.

“She’s shown a tireless commitment in establishing a world-class trading function and driving incredible value for our clients for many years.

“As we continue to grow and take our Smarter, Faster, Accountable proposition into the future through the development and adoption of AI-enabled technology and platforms, Lorraine is the perfect person to ensure our operations and people remain the best in the industry.”

Building for the next chapter

Reflecting on her promotion, Woods said: “When I joined Atomic 212° nearly a decade ago, we were a small but ambitious team with big ideas. To now step into this role as Chief Investment & Operations Officer is something I’m deeply proud of.

“The growth we’ve achieved is a credit to the people who make Atomic what it is: collaborative, inventive and relentlessly client-focused. My goal is to build on that foundation by ensuring our operations, leadership and culture are set up to thrive for long-term success.”

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The federal government has today revealed the details of its streaming quotas legislation.

Under the Communications Legislation Amendment (Australian Content Requirement for Subscription Video-On-Demand (Streaming) Services) Bill 2025, streamers like Netflix, Disney+ and Prime Video will face new reporting obligations and civil penalties to prove they’re investing in Australian stories.

The Albanese Government says the new law completes the policy bridge between broadcasters and streamers, ensuring global platforms help fund local content.

But the fine print makes clear this is more than a symbolic step, with The Australian Communications and Media Authority (ACMA) handed enforcement powers with real financial consequences.

Reporting, not rhetoric

From 2025, subscription video-on-demand (SVOD) services with more than one million Australian subscribers must file annual reports with ACMA within 45 days of each financial year’s end.

Reports must confirm whether the platform met its Australian content investment target: 10 % of total Australian program spend, or 7.5 % of Australian revenue, and include:

• total local program spend;

• qualifying Australian content investment;

• revenue derived from Australian operations;

• total subscriber numbers;

• an acquittal statement verifying compliance.

These reports must follow ACMA’s approved format, with all data fields completed.

Moreover, SVOD providers with at least 250,000 local subscribers must notify ACMA within 60 days of key operational changes: entering or exiting the Australian market, crossing the one-million subscriber threshold, or submitting previously inaccurate information.

This framework is designed to increase transparency and accountability so that regulators, and by extension the public, can track how much streaming money is genuinely flowing into Australian production.

Daily fines and fast enforcement

Failure to submit the report to ACMA will now constitute a civil penalty offence.

Each day the streamer fails to comply will count as a separate breach, compounding liability. Crucially, the legislation classifies these breaches as a “designated infringement notice provision”, which means ACMA has the power to issue infringement notices directly – without needing to proceed to court.

In effect, streaming giants that delay or under-report can be fined swiftly and repeatedly until compliance is met.

The ability mirrors the regulatory muscle used in the telecommunications sector but marks the first time such mechanisms are being applied to global streaming services.

Still, and here’s the rub, ACMA’s enforcement record raises questions about whether that power will be used.

For instance, in 2025 ACMA found 12 separate breaches of decency rules by the The Kyle & Jackie O Show, yet still appears to be “considering enforcement action” rather than imposing immediate heavy sanctions.

Radio futurist James Cridland tackled the lack of action in a recent opinion piece, writing:

“ACMA has so far found twelve breaches in 2025 alone. ACMA, the wettest of all global media regulators, is currently – oooh – thinking about what to do next.

“ACMA has the power to pull K&J off the public radio spectrum. They have the power to pull the licences for KIIS in Sydney and Melbourne altogether. Or, they have the power to do nothing at all, except wring their hands in an awkward way.”

Cultural protection meets corporate compliance

The content quota itself remains unchanged: streamers must invest 10 % of their Australian program expenditure, or 7.5 % of revenue, into new Australian drama, documentary, arts, children’s or educational programmes.

Arts Minister Tony Burke described the legislation as “essential cultural infrastructure” for an increasingly globalised entertainment market.

“We have Australian content requirements on free-to-air and pay TV, but until now there has been no guarantee on streaming services,” he said.

“No matter which remote control you’re holding, Australian stories will be at your fingertips.”

Communications and Sport Minister Anika Wells said the rules would help maintain momentum for high-quality Australian storytelling.

“Many streamers are already producing great Australian shows like Apple Cider Vinegar, The Narrow Road to the Deep North and Boy Swallows Universe,” she said.

“This announcement makes sure shows like these continue to be part of our national identity.”

The bottom line

The Bill signals a new regulatory era for streaming, and with daily fines on the table, ACMA now has both the authority and agility to make sure the promise sticks.

Still, the regulator’s past suggests that effective use of that authority won’t be automatic, or may never even eventuate at all.

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Leonardo.Ai has unveiled Blueprints, a new suite of pre-built generative AI workflows designed to streamline complex creative processes and deliver consistent, high-quality outputs at speed.

The launch positions Leonardo.Ai as one of the first major players to offer packaged, ready-to-deploy AI pipelines for creators and marketers seeking scalable results without the technical overhead.

Co-founder and chief product officer Jachin Bhasme said the goal was to make generative AI more intuitive and outcome-focused.

“The pace of generative AI is incredible, but that also makes it hard to know what to use and how to fit it into your workflow,” he said.

“Blueprints are about making AI truly useful by focusing on outcomes, not complexity, so creators can work the way they want and trust that the right tools are working for them under the hood.”

A new workflow for creators

Each Blueprint bundles optimal models, prompts, inputs and settings into a single workflow, standardising style, layout and quality across assets – from social content and brand design to cinematic motion and product photography.

The initial line-up includes Instant Brand Kit, Product Lifestyle Photoshoot and Instant Animate, aimed at helping creators accelerate campaigns, align multi-asset projects and maintain brand consistency.

While the system removes the friction of setup, Leonardo.Ai said the intent isn’t to constrain creativity but to enable it.

Blueprints provide a stable base that allows users to experiment confidently while achieving professional-grade outcomes.

The company plans to expand the catalogue with regular updates and eventually introduce tools for users to build and share their own custom Blueprints – a move that could open the door to community-driven workflow innovation across the platform.

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The BBC has upheld 20 impartiality complaints against news presenter Martine Croxall after she changed the wording of a live script and appeared to express a personal view during a broadcast.

The complaints stem from a segment on the BBC News Channel earlier this year, when Croxall introduced an interview about UK heatwave risks and altered her script from “pregnant people” to “women.”

“The research says that the aged, pregnant people … women … and those with pre-existing health conditions need to take precautions,” she read, referencing findings from the London School of Hygiene and Tropical Medicine.

I have a new favourite BBC presenter. https://t.co/l2gkThccty

— J.K. Rowling (@jk_rowling) June 22, 2025

The BBC’s Executive Complaints Unit (ECU) said her facial expression at the moment of correction “gave the strong impression of expressing a personal view on a controversial matter,” breaching impartiality standards.

BBC cites impartiality breach

In its ruling, the ECU found Croxall’s reaction was “variously interpreted by complainants as showing disgust, ridicule, contempt or exasperation.”

It added that social media praise she later received “tended to confirm that the impression of her having expressed a personal view was widely shared.”

BBC News management defended the incident as a reaction to “clumsy scripting,” noting that phrases such as “the aged” and “pregnant people” were drawn directly from a press release and did not reflect BBC style or the language used by the interview subject.

Nonetheless, the ECU concluded that “giving the strong impression of expressing a personal view on a controversial matter, even if inadvertently, falls short of the BBC’s expectations of its presenters and journalists.”

Second breach in two years

This marks the second time Croxall has breached BBC impartiality rules. In 2022, the presenter was found to have risked “expressing opinions” during a newspaper review segment following Boris Johnson’s decision not to re-enter the Conservative leadership race.

The latest finding has been discussed with Croxall and the editorial team involved.

While author JK Rowling briefly praised the presenter’s comment on social media, the BBC reaffirmed its stance that neutrality on divisive social and political issues remains non-negotiable for its journalists.

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Good news for formula one fans, Heineken just launched a ‘money can’t buy pass’ which allows one lucky fan and their preferred loved one free access to every Grand Prix in 2026.

The sports first ever season ticket was marked on the celebration of Heineken extending their near decade relationship (contract) with F1.

This one of a kind carbon fibre card gives access to all 24 races worldwide in 2026, with travel and accommodation for no cost.

The first lucky holder of the exclusive pass is Brandon Burgess, an F1 superfan who became viral for attempting to attend every race in 2025 while holding down a full-time job with budget constraints.

More than speed

Heineken says the ticket reflects its philosophy that Formula 1 is not only about podiums and speed, but also about shared experiences and connection.

The pass, crafted with precision-engineered rivets inspired by F1 materials, is designed as a symbol of craftsmanship, performance, and passion.

“After almost a decade of creating unforgettable fan experiences together, I’m thrilled we will be extending and expanding our partnership with Formula 1. This new chapter of our partnership is about more than sponsorship – it’s about connecting with fans, creating unique experiences, and celebrating the global F1 fandom,” said Dolf van den Brink, CEO & Chairman of the Executive Board at Heineken.

“In celebration of this contract renewal, we are excited to launch the sport’s first season ticket, giving a fan and a friend the opportunity to attend every race of the season – truly a once in a lifetime adventure.”

We can’t wait to deliver more fan-first activations, shared experiences, and showcase the incredible energy that surrounds F1, both on and off the track – all with a cold Heineken (0.0) beer in hand.” Van Den added.

Recognising fans who go the distance

Brandon Burgess, the first holder of the Heineken season ticket, has become something of a folk hero among the global F1 community. His challenge to attend every race in one year on a limited budget captured global headlines.

“Attending every F1 race in a single year has always been my dream. It’s been a crazy challenge – juggling my full-time job and being on a limited budget meant that I’ve had to make some sacrifices, such as only visiting some countries for 24 hours and attending races alone. But it has enabled me to connect with fans all over the world – many of whom I still chat to,” said Burgess.

“To be recognised by a brand like Heineken and be the holder of the world’s first season ticket for F1 races is absolutely mind-blowing. It’s the opportunity of a lifetime, and I can’t wait to take this journey even further next year and share the experience with other fans.”

F1 World Champion and Heineken 0.0 ambassador Max Verstappen presented the inaugural ticket to Burgess.

“F1 has some of the most dedicated fans in the world, and the energy they bring, whether they are at the circuit or supporting from home, is a huge part of what makes this sport so special. What Brandon has done this season is incredible.

“He has shown real commitment to the sport and the community around it. It is only right that he receives the first-ever season ticket from Heineken so he can continue sharing his passion and enjoy the sport with as many different people as possible,” said the current F1 world champion Verstappen.

The renewed multi-year global partnership between Heineken and F1 includes expanded Title Partnerships in Brazil, Madrid, and Silverstone, and extensions in China and Las Vegas.

According to F1 CEO Stefano Domenicali, the collaboration represents a continued focus on fan engagement and innovation: “For nearly a decade Heineken has stood alongside Formula 1 with a shared passion for creating an unrivalled experience and spectacle for our fans.”

Domenicali continued: “I want to thank the Heineken family, Dolf and his team for their continued support and am delighted that our partnership will bring even more excitement to spectators both at and away from track for many years to come.”

“In motorsport, innovation is in our DNA, so I’m thrilled that Heineken continues to push the boundaries of engaging fans and taking them even closer to the action,” Domenicali concluded

Looking ahead

Heineken’s expanded sponsorship will see the brand enhance fan experiences across multiple touchpoints, from on-track activations and Fanzones presented by Heineken 0.0 to F1 Arcades, race screenings, and social content throughout the year.

The beer brand also reaffirmed its commitment to responsible consumption, continuing to use its global F1 platform to promote Heineken 0.0, its premium zero-alcohol product.

Next year, Heineken will give another fan the chance to win the ultimate F1 season ticket through F1 Unlocked.

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The Advertiser’s Gemma Jones and Sean Fewster have been named joint winners of the 2025 Sir Keith Murdoch Journalist of the Year, recognised for their dogged reporting and editorial leadership at News Corp’s 21st annual News Awards.

Presented by News Corp Chair Lachlan Murdoch at last night’s Sydney event, the award honours outstanding journalism and is named after Sir Keith Murdoch, the founder of News and grandfather of Lachlan.

“We remain guided by the one thing that will, as human beings, set us free: the truth,” Murdoch told the audience.

“To find that truth, our reporters demonstrate determination, perseverance and courage. It isn’t always easy. But it does always matter.”

Jones and Fewster were recognised for On The Nose – The David Speirs Video Exclusive, a months-long investigation into the former South Australian Opposition Leader that also claimed Scoop of the Year.

The Advertiser’s success continued, taking home Brand of the Year – cementing the Adelaide newsroom’s reputation as one of the country’s most formidable editorial teams.

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