Everyone's was a magazine of the entertainment world, designed for fans as well as performers. Its short parts covered the range of sport, the screen, theatre, and music, emphasising humorous anecdotes about the stars and personalities. 'Beauty Hints' and 'From a Feminine Point of View' called directly to a female readership, while the bulk of the magazine initially had a more masculine tone. After little more than a year, it joined forces with Australian Variety and Show World, which continued under the editorship of Martin C. Brennan. The two distinct parts of the magazine gradually merged, creating the authoritative voice on cinema in Australia till 1937.

Two letters, one from Hugh D. McIntosh, Governing Director of Tivoli Theatres Ltd (q.v.), and the other from Martin C. Brennan, owner and publisher of Australian Variety (q.v.) regarding the cancelling of legal action by McIntosh against Brennan. A statement from McIntosh accepting Brennan's disclaimer was also published.

The situation initially came about after McIntosh's financial stability was question in the 29 October 1915 issue of the American Billboard magazine. McIntosh believed that Brennan was behind the article, and instigated the legal action. His decision to halt the action was made after Brennan publicly denied having anything to do with the article and further claimed that as far as he was aware the statements in question were untrue.

Correspondence between Hugh D. McIntosh, Governing Director of Tivoli Theatres Ltd (q.v.), and Martin C. Brennan, owner and publisher of Australian Variety (q.v.) regarding the cancelling of leagl action by McIntosh against Brennan. Both letters, dated 23 February 1916, had also been published in Australian Variety the previous month (7 March 1916, p7), along with a statement from McIntosh, which he requested in settlement of the issue.

The situation initially came about after McIntosh's financial stability was question in the 29 October 1915 issue of the American Billboard magazine. McIntosh believed that Brennan was behind the article, and instigated the legal action. His decision to halt the action was made after Brennan publicly denied having anything to do with the article and further claimed that as far as he was aware the statements in question were untrue.

'The only weekly paper dealing exclusively with Vaudeville, Drama, Pictures, Circus, Parks, Fairs and kindred amusements of the Antipodean Show World.' Although the price increased, the size remained the same and there was no break in style or content between Australian Variety and Australian Variety and Show World. It continued with 'newsy notes', regular reviews of shows at specific theatres, critiques of current film releases, interstate and international notes, club and association reports (Musicians, Magicians, Vaudeville Artists, Tattersall's), and boxing and racing columns. It also continued the tradition of large Christmas editions, carrying seasons greetings – often in display form – from individual performers and companies. Joint publisher from August 1917 was Andy Kerr (the Coogee Bunyip), a leading bookmaker. The effects of war, paper shortages, and the influenza epidemic on business were noted. The magazine was still partially addressed to those in the know, including the racing 'Heads', the theatrical 'Chasers', 'Bondi Beach combers', and the residents of the theatrical boarding house 'Pacific Mansions', whose doings were recorded in cryptic references, nicknames, and innuendoes. This element declined as moving pictures became increasingly important, not least through their extensive advertising, and from early 1918, film censorship was a significant topic. In May 1920 (No.1043), the editor published an Open Letter to the Film Exchanges, declaring, 'We have looked the matter over from all angles, and we have decided to cast our lot with the buyers and sellers of the shadowy screen, and, from now on, we are with you heart and soul'.

The first issue introduced the magazine's aim as 'to provide pithy paragraphs' about the amusement world generally, with special attention given 'to fair and impartial criticisms on vaudeville acts that will come under notice from time to time in this and other States'. As well as vaudeville, it reported on legitimate theatre, amusement parks, moving pictures, boxing, and racing, and published interstate notes and letters from performers working overseas. It praised talent and good fellowship and fully accepted performers regardless of ethnicity. Directed towards an insider readership of peripatetic theatrical performers and the racing fraternity, its commitment to the latter was made more explicit by a change of title from 6 January 1915 to Australian Variety and 'Sports' Gazette, and a regular column by 'Redleap' (bookmaker Jika Hendy) of 'items of interest to those men about town who relish the pointed references and innuendoes calculated to entertain and amuse'. There was a series of occasional columns on 'Frocks and Frills at the Vaudeville Theatre'. It more regularly included reports on social clubs such as the Australian Terriers Society, Australian Boosters Club, and the Chasers (q.v.); benevolent lodges (RAOB); and professional associations such as the Australian Vaudeville Artists' Federation and Magicians Club. Its office provided such services as a letter drop and the preparation of performance materials. It also organised benefits for distressed performers and their dependents, and lobbied against the unscrupulous and the unfair.

Vol.10, no.115 (29 Dec.1915) was published as Australian Variety Annual (three pence), edited by the panto dame, Dan Thomas.