As Judge Christopher Beale delivered his sentencing to Erin Patterson, the woman the media has termed the ‘Mushroom Lady’, TV networks went live with coverage.

Patterson was given to three life sentences, for the murders of Don and Gail Patterson, and Heather Wilkinson. For the attempted murder of Don Wilkinson she was given a 25-year term.

The sentences will be served concurrently. Justice Beale also handed down a non-parole period of 33 years.

During the sentencing, Justice Beale said he had “no hesitation in finding Patterson’s offending falls into the worst category of murder and attempted murder.”

The judge also remarked on the numerous media coverage of her case, including documentaries, that Patterson is likely to “remain a notorious prisoner for many years to come” and remain at “serious risk” from other prisoners.

Who went live?

It was a clean sweep across all the networks, with Seven, Nine and Ten all going live with Justice Beale’s sentencing. Sky News Australia even had a ticker counting down to the sentencing.

Before handing down his decision, Justice Beale detailed evidence given in the case, including explicit-laden messages Patterson had sent to friends regarding her family.

“You said, quote, f**k it”

Suffice to say it really was something of a landmark event in more ways than one, such as having the F-Bomb dropped in full across all networks at 930am in the morning. Won’t someone please think of the line producers?

Despite not having a live news service even Stan got in on the action, choosing today to release the trailer for its upcoming documentary on Patterson, Revealed – Death Cap Murders. Smart.

Digital media

Even though the court focused its camera on Justice Beale, and Justice Beale alone, we were still given an insight into Patterson’s demeanour on the day, thanks to the plethora of live feeds.

The Sydney Morning Herald printed images of Patterson arriving at court, before detailing her attire: “a simple paisley shirt, black slacks and black sandals. Outside, she was wearing a light-brown jacket.”

The Guardian’s Adeshola Ore took time with each update to detail Justice Beale’s most compelling statements from the sentencing allowing those without access to the live stream to follow along.

The BBC even went with a live stream of the sentencing, complimentary the live stream of their BBC World Service.

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How do you tell a story that not only everyone already knows, but also everyone might just be fatigued by the time you tell it (again)?

That was the issue facing the director behind Stan’s Revealed – Death Cap Murders. In a moment of true, yet macabre, serendipity, the streaming giant chose today of all days to drop the trailer – on the very day Erin Patterson is set to be sentenced.

But for the filmmakers, the story was never supposed to be about hype. It was born out of a simple desire: to cover the case.

The original idea

When Emmy-nominated director Gil Marsden first pointed his camera towards Leongatha, Victoria, he thought he was just covering a case.

“We started the development process pretty much like a couple weeks after the tragedy happened,” Marsden told Mediaweek.

“And so we went down right away. Obviously, the story was already bubbling up. And then we just kept our finger on the pulse down in the community. We went down and filmed a bunch of times during 2024. Just trying to really like hone in on what it was like to go through the kind of circus that happened.”

What began as a small crew trip to a rural town would eventually became Revealed – Death Cap Murders.

“When Patterson was charged and went to trial the story just went to a whole new place,” he explained.

“The amount of twists and turns that happened through that process was incredible,” he said. “We filmed for a really long time, and then we filmed for a very fast time at the end.”

The edit, Marsden said, was “one of the fastest in my career”. “But we’re really proud. We wanted to get out while people were still talking about it, but we wanted to make sure that we didn’t cut corners.”

And that editing process is still ongoing.

With Patterson’s sentencing due to take place today, Marsden confirmed the series ending has been left unfinished to accomodate the decision.

Beyond fatigue

While everyone thinks they know the story of Patterson. Marsden’s series argues otherwise.

“I think we’ve balanced those two interests pretty well,” he says. “We wanted to get out while people were still talking about it, but we wanted to make sure that we didn’t cut corners. We weren’t hollow, we weren’t shallow.”

The result is a series that moves past media frenzy to capture something deeper: the grief of a community, the complexity of a crime, and the unanswered questions that remain long after the headlines fade.

Building trust with a grieving town

From the beginning, the director said, transparency was essential.

“There’s a certain degree of trust and a certain degree of openness that comes from that,” Marsden explained.

“You have to work hard to build trust and you have to work hard to get people to sit in that chair. But once they’re there, in many ways, I think they’re ready to be open.”

Marsden remembered how the community in Korumburra was ‘wary’ of cameras. “There were people who didn’t want to talk to us, and we respected that. We didn’t want them to turn around a corner and see us and go, oh God, this again. So we were very transparent, from the beginning all the way through to the end.”

That sensitivity, Marsden says, was recognised.

“We’ve had a lot of feedback from members of the community that appreciated that approach. I think we did the best we could in what is a really traumatic and difficult environment – and for a community that really is ready for this story to move on.”

Silence and unanswered questions

Marsden still remembers the long months of nothing.

“The biggest shock was how long it took for there to be any more information, not just for us, but for the town itself. The police had basically left the town by the second week of August. And then it wasn’t until the second of November that new information breaks, for the public, but also for the town and the families,” he said.

That vacuum only added to the speculation. “They were trying not to gossip, but there weren’t any facts coming. And I think that’s a big part of why the story really became much bigger – because there was this void of information.”

Leading voices and new perspectives

To tell the story, Marsden and his team brought in The Age journalists John Silvester and Marta Pascual Juanola, who had been reporting closely on the case.

They are joined on screen by doctors, psychologists, toxicologists, local residents, and people who once knew Patterson – former colleagues, classmates and flatmates.

The aim, Marsden insists, wasn’t just to revisit what everyone already knew. It was to understand how the tragedy rippled through a small town, and why it kept such a tight grip on the national imagination.

But, Marsden said, even now, after a guilty verdict, one question hangs over the case and keeps him up at night: why?

“You look into darkness because you want an answer,” Marsden says. “Even if we have a verdict, even if we have evidence, even if we know what happened – we know who, we know what, where, how – but we don’t know why.”

Perhaps we never will.

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Claire Weaver didn’t begin her career in a newsroom.

At 19, she was working as a flight attendant, flying long-haul and figuring out what came next. “It was a lot of fun,” she recalled.

But she already knew where she wanted to end up – journalism. Weaver studied remotely through the UK’s National Council for the Training of Journalists and landed her first reporting job at a local Hertfordshire paper.

From covering school fetes and council meetings, she moved into grittier stories at the Watford Observer, before breaking into the Evening Standard.

“It was very busy. We churned out five editions a day, and I learned a lot there,” she told Mediaweek’s Newsmakers.

Now, Weaver leads LiSTNR’s news, crime and documentary podcast pillar, overseeing a slate of original investigative audio that has made LiSTNR the country’s leading factual podcast network.

The most recent Triton Australia Podcast Ranker shows the appeal of her patch – with more than a dozen true crime titles in the top 120, cases like Erin Patterson and the mushroom murders are sparking national conversations.

The persistence test

Weaver says investigative work often boils down to sheer persistence.

“When you’re, when you’re trying to get a story, you’ve just gotta sometimes be really dogged and just keep going. Keep ringing people, even if everyone’s saying no, even if people are closing doors in your faces, you just keep going and be nice about it,” she said.

That same persistence, she says, is key for young reporters trying to break into the industry: “Try and broaden your network. Whatever it is, just try to get your foot in the door and then give it your all.”

It’s a mindset that has shaped her own approach.

“As an investigative reporter I loved going down rabbit holes and getting obsessed with details. Give me a massive data set and I’m happy just spending ages combing through it,” she laughed.

Remembering victims

Weaver is clear about the responsibility that comes with telling crime stories. “I think that’s a really important point, especially with covering crime, that you remember it’s not entertainment,” she said.

For Weaver, the danger is when true crime forgets that real people are at the centre of the story.

“ I think it’s important to remember that these are real people are involved. Most of the time real people have been harmed or even have even died. So it’s absolutely legitimate to tell these stories, but we must remember to humanise them,” she said.

She believes responsible reporting can surface lessons – whether in corruption cases or domestic violence.

Weaver explained: “It’s good to understand how these things, how the crime has happened. You often will learn lessons, whether it’s say for domestic violence, covering those stories can help us understand what those warning signs might be. But we just have to remember to do it responsibly, and ethically, and I think that’s something we always keep in mind here at LiSTNR.”

Why LiSTNR invests in longform

Weaver is proud of the space LiSTNR has carved out in factual storytelling.

“I feel really, really lucky to work somewhere like LiSTNR. We are one of the few Australian networks investing in this kind of long form narrative storytelling,” she said.

The focus is on finding Australian stories that carry both local detail and bigger truths: “One of our points of differences is that we are looking for Australian stories, or at least a very strong element to the Australian part of the story.”

That means investigative work is often central to the pitch.

“We’re looking to take that story to the next level and expose something that needs to be exposed, as well as telling a really compelling narrative story as part of the process,” she said.

Claire Weaver’s full conversation, including her reflections on covering major Australian stories like the Belle Gibson scandal, features in this week’s Newsmakers podcast. You can listen wherever you get your podcast fix.

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Audio advertising in podcasts, audiobooks, and music streaming has proven to be a compelling space for capturing attention.

PodPoll 2025 found that 69% of 25-34-year-olds listen to podcasts each month, while 54% of regular listeners consume 1-3 hours of podcast content per week.

Investment has also grown to $313 million in 2024, up 17.8% year-on-year, according to the IAB’s 2025 audio advertising state of the nation report.

However, Stephanie Famolaro, senior director of business development at The Trade Desk, told Mediaweek that despite audio being such an immersive ad environment, brands treat it like an “afterthought” rather than a core channel as an investment in the media mix.

“Brands that look at audio as its core channel, not just complementary, will be the ones seeing massive uplift in performance.”

She explained that while most advertising channels compete for attention with other media, audio stands apart as it offers an undivided experience.

“In fact, audio is the second most-engaged channel in Australia. Unlike visual media, audio doesn’t require full attention to be impactful yet often ends up capturing it anyway.”

“Audio thrives on immersion and intimacy. Whether it’s an energising podcast or a gripping audiobook, the medium resonates with listeners on an emotional level.

“This creates an opportunity for brands to connect with audiences when they’re most receptive, whether they’re focused or alone with their thoughts.”

Famolaro noted that The Trade Desk’s report, ‘The untapped opportunity of omnichannel’, found that people leaned into audio, especially during commuting, exercising, and unwinding.

“This means that advertisers can reach audiences in a high-attention, low-distraction environment, which drives better memory encoding, stronger emotional connection, and higher trust.”

She explained that The Trade Desk’s research revealed audio ads excel in driving long-term memory retention, motivation, and brand recall.

“Podcasts draw strong engagement, with 26% of listeners strongly remembering ads, and 31% indicated high trust in podcast ads. When audio is integrated in an omnichannel campaign, it delivers 2.1x stronger memory encoding, 1.8x deeper brand affinity, and 1.5x more attention compared to using the channel in isolation.”

Turning up the volume on audio measurement

The IAB audio advertising state of the nation report noted that measurement and evidence of effectiveness as the key hurdles for growth in streaming digital audio and podcast advertising.

To help provide information and clarity on these data points, Spotify brought its Ad Exchange offering to the Australian market earlier this year.

It gives advertisers access to the platform’s base via real-time auctions as well as measurement capability and standardising audience data, which has been a barrier in audio advertising.

The partnership gives The Trade Desk’s clients access to around 7 million podcast titles and 170 million monthly listeners worldwide.

Famolaro said it allows advertisers can plan, buy, and measure podcasts alongside BVOD, video, and display within one omnichannel strategy powered by the industry identity framework, Unified ID 2.0 (UID2), The Trade Desk’s unencrypted alphanumeric identifier.

“By combining UID2 with audio, brands can achieve identity-led precision, unify frequency across channels, and better connect with audiences in moments of high attention.”

She noted that podcasts are treated as an integrated growth driver in the media mix, not just a siloed channel.

This ensures audio sits in the same workflows and measurement frameworks agencies use for BVOD, video, and display, and is integrated into the same omnichannel strategy.

“Advertisers can more effectively manage frequency capping, identity targeting, and cross-channel reporting across all formats in one place.

“That means audio isn’t an add-on, it’s integrated into the same omnichannel strategy.”

Sound strategy, louder impact

Famolaro said that agencies and marketers should treat audio as a core pillar of their omnichannel strategy and not just an add-on.

“With logged-in identity solutions like UID2, brands target precisely and coordinate messaging across audio, BVOD, display, and DOOH for stronger engagement and frequency control.

“The shift from multichannel to true omnichannel is also critical. Instead of buying channels in isolation, an audience-first advertising strategy allows brands to align message, timing, and storytelling across touchpoints.

“When measured against the same outcome metrics as BVOD, mobile and display, audio proves its role in reducing ad fatigue, boosting engagement, and driving ROI.”

She noted that brands are recognising the measurable role of audio in driving outcomes as part of a connected media strategy.

“Audio builds the memory encoding and emotional connection that influences decisions over time.
“In Australia, omnichannel campaigns using audio saw significantly higher encoding and brand connection, which are critical for shifting purchase intent.

“Brands are now combining that with real-world metrics, like site visits, app engagement, or retail lift, to prove the full value of audio beyond top-of-funnel awareness.”

Spotify has also combined audio and video ads on the platform, which has increased purchase intent by 27% and incremental sales by 66% compared to audio-only ads, according to The Trade Desk.

Famolaro noted that more brands are expected to design campaigns that move between audio and video content, mirroring how people use Spotify.

“Programmatic platforms make it possible to sequence messages across formats, using audio to build intent and video to deliver a strong call to action.

“Instead of buying channels in isolation, advertisers are building connected narratives across touchpoints, which leads to stronger performance.”

The next frontier: targeting, creative, measurement

Looking ahead, Famolaro noted that the wave of innovation in programmatic audio will come from three specific areas: Targeting, Creative, and Measurement.

For targeting, Famolaro said identity solutions like The Trade Desk’s UID2 give advertisers cross-device reach and frequency control.

“By unifying people, households, and devices into a single graph, we can deliver precision at scale while keeping audio integrated into omnichannel strategies.”

Brands now have creative tools that streamline audio ad production and are lowering barriers to entry, which allow for scope to test and refine messaging efficiently.

The biggest opportunity is measurement. Famolaro said while advertisers want audio to be held to the same ROI standards as other digital channels, the industry needs to solve podcast measurement where downloads, streams, and identifiers can vary depending on distribution platforms.

Famolaro concluded: “There are still innovations to be made in how podcasts are consumed and how measurement is standardised across formats before we can talk about true outcome-based reporting.”

Top image: Stephanie Famolaro

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DON has revived its iconic “Is Don. Is Good.” platform, with Matt Preston fronting the new campaign as the brand’s craftsman.

The campaign, developed by The Royals, reintroduces the long-running line to a new generation, positioning the brand as a straight-talking alternative to today’s foodie culture.

Sophie Fetterplace, Head of Marketing and Innovation at DON Smallgoods, said: “Since 1947, the DON name has been synonymous with ham, bacon and Smallgoods Australia wide.

“This recognition stems from our passion and dedication to the quality of the Smallgoods we produce.

“Matt Preston and The Royals have shared this passion and translated it into a distinctive and memorable creative platform; one, like DON, that will stand the test of time.”

Preston stars across TV, online, OOH and social executions, showcasing the products through dishes including a Pasta Pomodoro and a midnight toastie with DON Double Smoked Ham.

Preston said: “The DON craftsman is such an iconic Australian character and I was honoured to take on the role.

“I love the idea that someone known for using so many words should be asked to take on the mantle of one of the most plain-speaking Australian characters in Australian advertising history. Or as he would rather more sparingly just say, ‘Is Don. Is Good’.”

The brand, one of Australia’s largest smallgoods manufacturers, has produced hams, bacon, salami, franks and continental products for generations.

Steve O’Farrell, Founder and Managing Partner at The Royals, said: “This DON campaign represents what’s possible when great clients, production partners and creativity combine with craft and purpose.

“Together we’ve transported a cultural icon into the modern age, and The Royals couldn’t be more proud. Enough said!”

Credits
Client: DON Smallgoods

Creative Agency: The Royals

Production: Rabbit
Director: Lachlan Dickie
Photographer: Chris Budgeon
Post House: Puffin
Music/Sound: Rumble
Media: PMG

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News Australia has appointed Marie Joyce as General Manager of its content marketing agency, Suddenly.

Joyce, based in Melbourne, will begin in the newly created role next month.

She will lead strategy and growth for the agency, oversee client relationships, and drive content solutions for brands including Chemist Warehouse, Youi, The Good Guys and Westpac.

Suddenly is part of News Australia’s commercial content portfolio alongside Medium Rare, Storyation and Visual Domain.

“Suddenly has had an exceptional year building momentum in the market, with existing clients expanding their partnerships and new clients recognising the value and power of brand content,” said Mike Connaghan, News Corp Australia Managing Director, Commercial Content.

“Marie is an outstanding leader and her vision and expertise will be instrumental in capitalising on this growing demand and taking Suddenly to the next level.”

Joyce joins from Mamamia, where she was National Sales Director, and brings more than 15 years of experience across media and commercial strategy. She has also held roles at Nova Entertainment, Bauer Media Group and ACP Magazines.

Joyce said of her appointment: “I’m passionate about solving client problems through creativity, data-led insights and compelling storytelling.

“Suddenly has a well-earned reputation for delivering content that deeply resonates with audiences and drives results. I’m excited to build on that success alongside such a talented team.”

Top image: Marie Joyce

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Parvati Shallow has claimed the ultimate title in Survivor: Australia V The World, defeating Australian players Luke Toki and Janine Allis in Sunday night’s Grand Finale.

The veteran of the game walked away with $250,000 and the recognition of being named Sole Survivor after a season that brought together 14 of the franchise’s biggest names from around the globe.

“This is my final time playing Survivor, so to have been awarded the win from the jury is like the sweetest moment,” Shallow said.

“I’m so grateful to have been a part of this incredible experience of Australia V The World… there is something about this game that just gets in my blood. I feel like I was born to play Survivor.”

A long-time coming

Shallow’s journey began back on the beaches of Samoa, returning for the first time since Heroes vs Villains in 2009. At the time, she felt a “bitter jury” robbed her of victory. This time, she was determined to write a different ending.

Her strategy proved sharp: despite being one of the most recognisable players, she avoided elimination, survived failed blindsides, and delivered in physical challenges  most critically, securing the final immunity.

Alongside her was Cirie Fields, her long-time ally and self-described “Survivor soulmate,” who supported her through to the final tribal.

The win wasn’t just decisive, it was emphatic. Shallow became the only player not to receive a single elimination vote across the season. When it came time to crown the winner, she claimed six out of seven jury votes.

“I think this is the best game of Survivor I’ve played because I think I made some pretty great moves, I kept myself in a majority alliance, this feels like a full circle moment for me personally,” she said.

“I feel like I’m re-writing history in a way that feels so right.”

With this victory, Shallow has added yet another accolade to her already stacked résumé. Widely regarded as one of the most influential players in the show’s history, the win cements her reputation as the franchise’s greatest of all time.

As she put it herself: “Parvati Shallow can now add Sole Survivor of the World to her already impressive mantle.”

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SXSW Sydney has announced its 2025 Screen Festival headliners, led by the Australian premiere of Springsteen: Deliver Me from Nowhere starring Jeremy Allen White, set to open the festival on Monday 13 October.

Directed by Scott Cooper, the biopic delves into the making of Bruce Springsteen’s 1982 album *Nebraska*, exploring the artist’s battles with depression, creative process, and familial tensions. The screening takes place at the Seymour Centre and kicks off a six-day festival running from 13–19 October across Sydney.

Among other headline titles is Universal Pictures and Blumhouse’s Black Phone 2, with Ethan Hawke reprising his chilling role as the Grabber. The film screens Tuesday 14 October, also at the Seymour Centre.

Sydney audiences will also see the local premiere of Nirvanna The Band The Show The Movie (15 October), a time-travelling comedy from Canadian creators Matt Johnson and Jay McCarrol, the continuation to their cult classic TV show, fresh from its SXSW world premiere in Austin.

Other major inclusions on the program include:

• Die My Love (16 October), directed by Lynne Ramsay, starring Jennifer Lawrence, Robert Pattinson and Nick Nolte, following a young mother’s descent into madness in rural Montana.
• Bugonia (17 October), a dark sci-fi comedy by Yorgos Lanthimos featuring Emma Stone and Jesse Plemons, centred on a conspiracy-driven kidnapping plot.
• If I Had Legs I’d Kick You (18 October), directed by Mary Bronstein and starring Rose Byrne in a dramatic turn as a mother grappling with family trauma and mental health.

All films are accessible to Platinum Pass, Pro Pass, or Screen Wristband holders, offering unlimited access to festival screenings. Individual Rush Tickets for headliner and featured sessions are also now available via the SXSW Sydney website.

SXSW Sydney is produced by TEG with support from Destination NSW. The event, returning for its second year, integrates film, tech, music and games across more than 1,600 sessions throughout the week.

SXSW Sydney 2025 will take place from 13–19 October across venues in Sydney.

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MLC Life has unveiled a new brand identity, officially rebranding as Acenda as the company prepares for its next stage of growth and a merger with Resolution Life Australasia.

Developed with Richards Rose, the new name and platform were created to shift the brand beyond traditional life insurance norms and signal momentum and progress.

The rebrand comes ahead of the merger with Resolution Life Australasia, which will expand Acenda’s customer base to more than 2 million Australians.

Jane McGovern, Chief Customer and Strategy Officer for Acenda, said the launch was a key milestone in Acenda’s brand transformation.

“Acenda symbolised new beginnings, ascension and progress, while maintaining the trust of a brand that has more than 135 years of heritage,” she said.

“We have the bold ambition with this new brand to protect more Australians and their families and empower them to love an abundant life. To take life on.”

Acenda launches with a new brand platform, Take Life On, supported by a national campaign rolling out this week across multimedia, customer communications and partner engagement.

Digby Richards, CEO from Richards Rose, said: “We were very proud to partner with MLC Life to create Acenda and then the organising idea, Take Life On to help galvanise their growth ambitions across the entire business.

“Take Life On brings credible stretch to a company with exceptional trust that is expanding into new segments to become a more holistic partner for people’s retirement phase of life.”

The company says the brand aims to drive a more active relationship between Australians and their life insurer, encouraging people to prepare for retirement while working closely with advisers and superannuation funds.

Acenda has already picked up early recognition, winning Best Overall Rebrand at the 2025 Brandie Awards.

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Google Australia has launched two brand films with R/GA, highlighting how Google AI is being applied to healthcare challenges in Australia.

The campaign, part of Google’s More’s Possible platform, focuses on diabetic eye disease and hearing loss. It is Google’s first local campaign centred on AI’s real-world impact.

‘The Sidelines’ follows a regional doctor using AI-powered screening for diabetic retinopathy, enabling faster detection of early signs of the disease. ‘The Dining Table’ tells the story of researchers developing AI models to improve hearing devices, helping people better distinguish voices in noisy environments.

The films were directed by Sanjay De Silva of Division and launch nationally on 7 September across broadcast, BVOD, YouTube, audio, out-of-home, SVOD, display, print, and a partnership with The Voice.

Google’s Digital Future Initiative underpins the work, a $1 billion investment supporting local researchers in areas including hearing, conservation, and biodiversity.

Partners include Cochlear, Macquarie University Hearing, The Shepherd Centre and NextSense.

Suzana Ristevski, Chief Marketing Officer for Google Australia and New Zealand, said: “Whether it’s improving the effectiveness of hearing aids or helping prevent diabetic vision loss, this campaign demonstrates that more’s possible when medical researchers join forces with Google AI.”

“Thanks to local partners, this groundbreaking work is taking place in Australia right now,” she added.

Rachel Blacklaws, Creative Director, Australia, at R/GA said: “These are stories of possibility made tangible. They show what happens when emerging technology meets the passion and vision of researchers and medical professionals.”

Sanjay De Silva, Director at Division, added: “We wanted to create films that had a subtle, cinematic, and emotionally grounded tone that felt like we were dropped into the middle of these very real settings. It’s not about the technology, it’s about the people, and the possibilities it unlocks.”

Google AI tools also supported production, from visualisation to post-production enhancements, including Generative AI for background environments. Actors with lived experience of diabetes and hearing loss were cast for authenticity.

Credits
Client: Google Australia
Chief Marketing Officer, Australia and New Zealand: Suzana Ristevski
Senior Marketing Manager: Freya Harvey
Marketing Manager: Lauren Maxwell
Marketing Manager: Olivia Ford

Creative Innovation Company: R/GA
Managing Director: Victoria Curro
Chief Creative Officer: Seamus Higgins
Creative Director: Rachel Blacklaws
Creative Director: Scott Canning
Design Director: Nicholas Hannon
Group Account Director: Josh Agnew
Executive Content Producer: Kyle Belcher
Executive Strategy Director: Marie Conley

Production Company: Division
Director: Sanjay De Silva
Producer: Jane Smith
Managing Director / Executive Producer: Genevieve Triquet
Executive Producer: Karen Bryson
Production Manager: Elaine Roy
DOP: Sam Chiplin
1st AD: Angus Bolles
Art Director: Mike Price
Wardrobe Stylist: Olivia Simpson
Editor: Lucas Baynes

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Grill’d has teamed up with Melbourne-born Formula 1 driver Oscar Piastri to relaunch the Oscar Piastri 81 Burger ahead of the 2025 F1 season.

The limited-edition burger, available from 8 September, features a grass-fed beef patty, charcoal bun with papaya sesame seeds, bacon, cheddar, carrot, cos lettuce, Spanish onion, and OP chipotle mayo. It delivers more than half the recommended daily protein intake and is priced at $18.50.

Grill’d is also rolling out the Oscar Piastri 81 Pack, which includes the burger, Grill’d chips with chipotle dip, and a Remedy Blood Orange Sodaly for $27.90.

Piastri said: “I’m really excited to be bringing back a new and improved version of my Grill’d burger. The reaction to the first launch earlier in the year was awesome and I can’t wait to see it back in store.”

“I’ve been a fan of Grill’d healthy burgers for a long time and I’m really happy with the taste and flavours we’ve been able to come up with.”

Grill’d Founder and Managing Director, Simon Crowe, said the partnership between Grill’d and Oscar Piastri, both Melbourne born, was a natural fit.

“We know that athletes love and prefer Grill’d because of our performance and nutritional benefits, but most importantly they love the taste.

“We’re extremely proud to partner with Oscar, not just because he is an incredibly talented F1 star, but because he represents the next generation of Australian sporting excellence.

“Oscar has had his best F1 season yet and Grill’d has been right there with him on and off the track from the beginning of the season,” he said.

“When we first released the Oscar Piastri burger back in March, it was an absolute crowd favourite. We’re thrilled to now be bringing a revamped version of this burger back to the menu after much demand and anticipation as he contests the F1 World Drivers’ Championship.”

The partnership sees Grill’d and Piastri, both Melbourne-born, align around performance and fan engagement. Relish loyalty members will have access to exclusive offers throughout the remainder of the F1 season.

Top image: Oscar Piastri

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Toyota Australia has launched the new GR Yaris, including its auto variant, with a campaign developed by independent agency HERO.

The platform, Nice to Know It Could, is based on the idea that enthusiasts value the extreme capabilities of performance cars, even if they’re rarely used. With engineering drawn from the World Rally Championship, the GR Yaris is positioned as ready for both rally stages and weekday commutes.

The multichannel rollout spans TV, BVOD, SVOD, cinema, digital, OOH and social, supported by gamified environments and behind-the-scenes content.

The 60-second hero spot, shot in Williamstown and Parwan Ride Park, blends suburban and rally settings. It features large-scale stunts including a seven-metre-high fast-food drive-through, accessible only via a mid-air jump. Directed by Sam Walker of Exit Films, the film is set to “Hertz” by Melbourne punk band Amyl and The Sniffers.

“We set out to capture the exhilaration that comes with a car and driver moving as one,” Vin Naidoo, Chief Marketing Officer, Toyota Australia, said.

“With the GR Yaris, that visceral connection is immediate and instinctive, turning even the most ordinary roads into something extraordinary.

“The film is our way of letting audiences experience that sensation for themselves, not just in what they see, but in what they feel, even though the stunts are out of the realms of possibility for everyday drivers.”

Shane Geffen, Executive Creative Director, HERO, said: “You’d never need to push a performance car like the GR Yaris to its limits during everyday driving, but there’s comfort in knowing you could rather than needing it to.

“We’re proud to partner with Toyota and Exit to bring this insight to life in a bold and memorable way.”

The launch extends HERO’s creative partnership with Toyota across its GR portfolio. It follows recent recognition for the agency, including a Bronze at Spikes Asia and a Grand Prix at the World Independent Advertising Awards for the C-HR Diamond collection.

CREDITS:

CLIENT – Toyota Motor Corporation Australia
Vin Naidoo – Chief Marketing Officer
Anthony Nobile – Snr Manager, Brand Communications
Stephanie Naylor – Manager Communications – GR Brand
Suhailah O’Brien – Senior Brand Specialist – GR Brand
Abbey Harrington – Senior Brand Specialist – GR Brand
Alex Verduci – Brand Specialist

AGENCY – HERO
Shane Geffen – Executive Creative Director
Andrew Woodhead – Creative Director
Mitchell Sutton – Senior Art Director
Josh Campbell – Senior Copywriter
Kean Szczur – Senior Art Director
Roz Scrimshaw – Head of Production
Ken Chan – Head of Strategy
Dan Hickey – Head of Studio / Finished Art
Richard Hayes – General Manager
Gideon Nedas – Group Account Director
Annabel Ziegeler – Account Director
Issy Kelly – Senior Account Manager

PRODUCTION – Exit Films
Wilf Sweetland – Managing Partner
Alice Grant – Producer
Sam Walker – Director
Jeremy Rouse – DOP
Lucinda Thomson – Production Designer
Harry Dakanalis – Stunt Co-ordinator

PHOTOGRAPHY – Loveridge Productions
Natalie Loveridge – Producer
Easton Chang – Photographer
Joshua Stunell – Assistant Photographer
Easton Chang – Retouching

CASTING – Nick Hamon Casting
Megan D’Arcy – Casting Director

POST PRODUCTION – The Editors & ALT VFX
Eyvonne Carfora – Executive Producer
Caroline Macleod – Producer
Fergus Rotherham – Colourist
Bernard Garry – Editor
Online Artist – Heather Galvin
VFX Supervisor – Juri Bryan & Bryn Morrow

SOUND DESIGN: Rumble Studios
Liam Annert – Sound Engineer
Bec Ivanov – Producer

MUSIC: – Charmed I’m Sure
Chris Chalmers – Music Supervisor
Amyl & The Sniffers – HERTZ – Original music

MEDIA AGENCY – Spark Foundry

SOCIAL AGENCY – Havas Red
Joanne Ng – Group Account Director
Donna Flatman – Account Director
Paul Bradshaw – Videographer

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Are Media has appointed Sophie Robertson as Agency Lead, Victoria.

She joins the publishing company from Nine Network Melbourne, where she was Group Business Manager.

Robertson spent more than five years at Nine, progressing from Sales Executive to Senior Sales Executive and then Group Business Manager. She previously worked at Southern Cross Austereo in Melbourne.

Robertson will report to Nisar Malik, Head of Sales, Victoria. Nisar said: “We are all thrilled to have Sophie as part of the new era of Are Media. Her experience across digital and client solutions will be a great asset to the business.

“Sophie will lead an Agency team that will work side by side with our agencies and clients. She will create new opportunities and provide marketers access across our premium brand safe eco-system – platform agnostic.”

Sophie said: “I’m super excited to be joining Are Media as it enters a bold new phase of digital growth.

“The Are Media team are experienced operators who are incredibly passionate about their content and products. I’m really looking forward to working alongside them to create impactful, meaningful campaigns for our clients that resonate with Australian women.”

Last month, Are Media unveiled the restructure of its Homes & Lifestyle division, with new editorial appointments across Australian House & Garden, Belle and Country Style.

The publisher’s move positions the titles as connected brands across print, digital, video, social, audio and events, aimed at aligning audience demand with advertiser opportunities.

To support the strategy, Are Media confirmed several senior editorial appointments across the portfolio, including Gavin Kirk who returns to Are Media from luxury PR agency Élysée Collective as Editor, Australian House & Garden, he was previously Editor of Belle.

Tanya Buchanan joins as Editor-in-Chief of Belle and Country Style, with Hannah James as Deputy Editor, Belle and Country Style, and Kylie Imeson as Editor, Country Style.

Kate Hassett, former Deputy Editor of Inside Out, has been appointed as Digital Editor across Australian House & Garden, Belle and Country Style.

Bethan Lacoba has been promoted as Features Editor, Australian House & Garden, while Saskia Neascu has been appointed as Senior Content Producer of Belle.

Are Media GM of Homes & Lifestyle Jocelin Abbey said the changes will allow the brands to build editorial authority while growing commercial opportunities across talent-led properties, event IP, thought leadership and content-to-commerce.

Top image: Sophie Robertson

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Bandai Namco Asia Co., Ltd. will bring its internationally touring THE GUNDAM BASE POP-UP WORLD TOUR to Sydney for the first time, with a multi-week event at Broadway Sydney Shopping Centre from Tuesday, 23 September to Sunday, 12 October 2025.

The pop-up, hosted in partnership with HOBBYCO, will feature a four-metre balloon of the iconic RX-78-2 GUNDAM, a wide range of GUNPLA (GUNDAM plastic model) exhibits, hands-on workshops, and exclusive items available for purchase. Admission is free.

This marks the tour’s Australian debut after stops in Japan, China, France, Malaysia, Korea, and Singapore since launching in April 2025.

Visitors can also catch screenings of GUNDAM movies at HOYTS on Level 2, while Level 3 will showcase entries to the GUNPLA BUILDERS WORLD CUP (GBWC) submitted by Australian fans. The GBWC is regarded as the world’s premier competition for GUNPLA builders, attracting talent from over 16 regions globally.

A final ceremony on Sunday, 12 October will select Australia’s representatives for the GBWC Final in Japan, where they’ll compete for the title of World Champion.

Celebrating GUNDAM in Australia

First airing in 1979, MOBILE SUIT GUNDAM is a landmark Japanese anime series known for its complex take on war, politics, and human drama. It introduced viewers to “Mobile Suits”, giant humanoid robots, and has since expanded into films, games, and an extensive model-building culture.

The event aims to introduce local audiences to THE GUNDAM BASE retail and experience concept, which includes exclusive GUNPLA kits, detailed model displays, and interactive spaces for fans of all ages.

Over 700 million GUNPLA kits have been shipped globally since their debut in 1980, cementing the franchise as one of the world’s most successful model kit lines.

Event details

• Location: Broadway Sydney Shopping Centre, 1 Bay St, Glebe NSW 2037
• Dates: 23 September – 12 October 2025
• Opening hours: Mon–Wed & Fri 10am–7pm, Thu 10am–9pm, Sat 9am–6pm, Sun 10am–6pm
• Admission: Free
• GBWC Ceremony: Sunday, 12 October at 3pm
• More info: hobbyco.com.au/pages/gundam-base

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