Omnicom confirmed it will acquire The Interpublic Group of Companies, Inc. on Monday, with its board of directors for the holding companies unanimously approving the agreement.

The acquisition of Interpublic will make the combined holding companies the industry’s deepest bench of marketing talent, and the broadest and most innovative services and products.

Mediaweek spoke with industry figures to get their thoughts and opinions on the acquisition, the global and local impact, and what it means for the future of the media and marketing industry.

Mat Baxter

Media industry veteran Mat Baxter told Mediaweek that at a global level, it was a “complementary acquisition”, while from a geographical and historical perspective, it plugged IPG’s market and geographical weaknesses

“IPG has never been super strong in Europe or Asia, but Omnicom is particularly strong in Asia, particularly in China, where they have a stronger footprint. South American markets have historically been very, very strong markets for IPG. They’re both strong in the US.

“It’s a potent combination to be bringing those two networks together. In terms of creating geographical global dominance in all critical marketplaces, the two combined are a powerful force.”

Baxter also highlighted IPG’s strong healthcare capability matched up with Omnicom’s healthcare group, to which he said will “supercharge their healthcare credentials.”

“IPG was already a very dominant force in health. I think in this instance, IPG will be helping Omnicom on that side as opposed to Omnicom helping IPG. IPG’s health operations will be significantly accretive to Omnicom’s existing capability and revenue performance in that area specifically.”

John Wren and Philippe Krawkowsky

Baxter forecasted the potential for synergistic brand mergers among some agencies, mainly on the media side – not creative. Baxter said: “My guess is all the media agency brands are not going to continue as they are now – PhD, OMD, Hearts & Science, Annalect, Kinesso, Initiative, UM – yhat wouldn’t make a huge amount of sense, at least to me, to maintain that many media agency brands in a newly merged in a takeover of IPG.

“I think you’ll see some media agency brand consolidation. I think you’ll see less of it on the creative side because let’s be real, Omnicom’s creative asset base is it’s the jewel in the crown. They’ve got the best creative agency brands in the world.”

When asked about what the seismic change in the industry signals in the market, Baxter said: “Consolidation.”

“The market continues to have tough trading conditions, procurement continues to drive down fees, and agencies continue to be disintermediated to some extent by technology players like Google and Facebook.

“It signals to me a new period of consolidation. I don’t think this will be the first. I think there’ll be more,” he added.

Darren Woolley

Darren Woolley, CEO of TrinityP3, said: “Let’s call this for what it is – a takeover. The Omnicom IPG Group ‘merger’ is continuing evidence that the major holding companies are pursuing a strategy of scale and efficiency in the face of multiple business and economic challenges.”

He said that while consolidation across the new larger group is evident, “here are still plenty of options for advertisers going to market on a global or regional basis, not just with the remaining networks but with the rise of the independent networks, too.”

“The deal will make 2025 very interesting. Let’s remember that OMG and Publicis tried a “merger of equals” in 2013 before cultural and client conflicts scuppered the deal. This is a takeover that will provide the opportunity to rationalise the underperforming media agency brands.

“Locally, you have significant challenges on both sides, with Peter Horgan stepping down from the lead at OMG and Initiative recovering from the loss of their leadership team earlier this year to Accenture Song.

“Amid this local disruption, the takeover creates momentum for significant change in the media agency landscape. Who knows, it could see Mark Coad return to lead a unified OMG comprised of the best of the two groups. Anything is possible,” Woolley added.

Julia Vargiu

Julia Vargiu, director Australia, SI Partners, also concurred with the impact on Australia of the Omnicon-IPG in light of significant consolidation across agency services over the past six months.

“The reality is, there are too many agencies chasing a finite pool of clients, and we can expect more mergers across different sectors as businesses streamline their offerings.”

Vargiu said the integration process will dominate Omnicom-IPG’s focus over the next 6 months and create opportunities for indie agencies to win clients and talent “as the dust settles.”

She added that as clients increasing value flexibility, personalisation, and local understanding, indies will need to act fast and strategically in firming up relationships with any shared Omnicom-IPG clients while looking for ways to differentiate themselves.

“Indies provide direct access to top talent, including founders, and their responsiveness and fresh thinking are particularly appealing as clients seek alternatives to the scale-driven models of holding companies.”

Vargiu said she expects to see the next hotshop rise from the change as “top talent takes the opportunity to leave the network life and flex their own muscles by doing the work in a different way.”

She highlighted Akcelo, Howatson+Co, Thinkerbell and RyanCap as prime examples of thriving indies led by ex-network talent.

Vargiu said that independent agencies may struggle to keep up with the tech innovations the larger networks have the capital to invest in. However, she noted that indies may be able to bridge that gap by incorporating tech consultancy services and automating processes in addition to agility and innovation.

Much like Baxter, Vargiu also noted the acquisition signals a broader trend for 2025. “The rebound of M&A activity is alive and well, and Omnicom’s strategy reflects this,” she said.

“They’ve focused less on smaller acquisitions in recent years, saving their resources for transformative deals like this one. It’s a formidable strategy, designed to create a dominant global entity rather than piecemeal expansion.”

“As consolidation continues, we’ll likely see the industry streamline further, with weaker players phased out and a healthier, more dynamic market emerging. For independents, this moment is a chance to capitalise on their strengths – agility, creativity, and client-centric service – to thrive in this evolving landscape,” Vargiu added.

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Top image: Mat Baxter, Darren Woolley, Julia Vargiu

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McDonald’s Australia and Netflix have brought the Dalgona Candy Challenge to life with the Squid Game Meal, only in Australia in anticipation of Squid Game 2.

Developed by OMD and Akcelo, the Dalgona Candy Challenge and ‘Dare to Play’ campaign taps into the global popularity of Squid Game, giving fans the chance to engage in an interactive version of one of the show’s most iconic and viral challenges, with exciting prizes to be won.

“Squid Game is Netflix’s most-watched show, and we’re thrilled to bring this cultural phenomenon to life at Macca’s,” Amanda Nakad, marketing director for McDonald’s Australia, said. “This collaboration gives our customers and fans the unique opportunity to step into the game and experience it like never before.”

The exclusive Squid Game Meal includes a QR code that grants access to the game, where players race against time to complete the Dalgona Candy Challenge. In a unique Australian twist, McDonald’s has replaced the umbrella candy shape with a more challenging Golden Arches ‘M’. Those who succeed will have the chance to win exclusive co-branded merchandise, with a grand prize of $100,000 for one lucky challenger.

The mobile game also features an immersive film that reimagines key moments from the iconic scene, including the original voice of Jeon Young-Soo (전영수) as the Game Instructor.

Emily Bosler, OMD managing partner for McDonald’s, said: “This golden partnership allows us to deliver an interactive branded experience that captures the excitement of Squid Game while celebrating the fun and playfulness of Macca’s. We can’t wait for fans to join the challenge!”

‘Dare To Play’ demonstrates McDonald’s continued commitment to pushing the boundaries of customer engagement through immersive, cross-platform experiences.

The campaign will drive engagement through a range of activations, including restaurant experiences, OOH, social media, fandom pages, and a Dalgona Candy Challenge event at World Square Sydney, where the public can participate in a Squid Game-themed playzone under the watchful eye of the Pink Guards.

Aden Hepburn, CEO of Akcelo, said: “As superfans of both Netflix’s Squid Game and Macca’s, we have loved every moment of bringing this unforgettable campaign to life at scale with McDonald’s and OMD. The result is simply unlike any other Macca’s campaign that’s come before and we can’t wait to see how Australia – and the world – will react.”

This unique partnership extends beyond the meal itself. McDonald’s will serve as the single-title sponsor for Squid Game 2 in Australia on Netflix’s ad-supported platform, coinciding with the series’ global release on Boxing Day, 26 December.

CREDITS

McDonald’s Australia 
Chief Customer Officer – Chris Brown
Marketing Director – Amanda Nakad
Head of Brand & Menu – Nichole Tsiros
Brand Manager – Samantha Lau
Digital Experience Manager – Luke Elzerman

Netflix (in partnership with Gemba)
Head of Partnerships – Harvey Brant
Partner Marketing Creative – Eunbee Kyung

OMD
Emily Bosler – Managing Partner, McDonald’s
Zoe May – Head of Strategy – Macca’s
Hattie Dinger – Partnerships Director
Taylor Hilditch – Account Director
Soraya Ghaidan – Account Manager
Paige Ye – Diverse Senior Account Manager

Akcelo 
Group Executive Creative Director – Louise McQuat
Creative Partner – Oskar Westerdal
Creative Team – Ilya Aronovich & Misha McDonald
Account Management – Max Bennett, Gabriel Montalban, April Tunstall & Brody Blinkhorn
Production – Stephanie Ceccaldi, Dan Burns & Dave Bourke
Design – Paul Critchley, Dan Martin, Cath Roberts, Justin Bellchambers & Richard Spencer
Head of Craft – Jon Foye
Motion – Benny O’Shea, Mike Ashburner, Jamie Muscat & Denys Michele
Digital Experience – Mark Berry, Helen Turner, Jason Woods, Alwyna George, Kim Tang & Minho Baek
Event Production – Lea Nguyen & Ben Turner
Chief Strategy Officer – Dave Di Veroli
Chief Executive Officer – Aden Hepburn

Production
Director – Alex Roberts, FINCH
Producer – Bryce Lintern, FINCH
DOP – Ross Giardina
Post Production – Heckler
Sound Design – Squeak E. Clean
Photography – Mat Baker, Louis&Co
Social – Reel Focus Films

PR – Mango Communications
Ashleigh Vallance – Senior Account Director
Ian Lizardo – Senior Account Manager
Gunjan Kaur – Account Manager

CRM – Digitas 

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Prince Harry and Meghan Markle’s latest Netflix project, Polo, debuted globally today, 11 December 2024, and it’s a noticeable departure from the drama-filled productions we’ve seen from the couple in the past. The five-part docuseries focuses on the 2024 U.S. Open Polo Championship in Wellington, Florida, blending the worlds of elite sport and philanthropy.

But if you’re expecting another tell-all or royal exposé, this isn’t it. Instead, Polo offers a more understated glimpse into their lives; and they’re barely in it.

The royals take a step back

Despite being executive producers, Harry and Meghan’s on-screen presence is minimal. Harry occasionally appears on the field or in connection with Sentebale, the charity he co-founded to support vulnerable children in Southern Africa. Meghan’s role is even smaller; she features briefly in the final episode, attending the Sentebale Polo Challenge with her friend Serena Williams to cheer Harry on.

This low-key approach feels worlds away from their explosive 2022 Netflix series Harry & Meghan, which thrust the couple’s personal lives and family tensions into the spotlight. Instead, Polo is more about the sport, its cultural impact, and its charitable ties.

A different kind of storytelling

With Polo, Harry and Meghan seem to be recalibrating their narrative approach. Rather than leading with controversy, they’re leaning into purpose; using their platform to spotlight causes they care about. Archewell Productions, their production company, appears to be finding its footing after mixed results since the couple signed their £80 million (AUD $160 million) Netflix deal.

For Harry, this series is clearly a passion project; a love letter to polo and its potential to make a difference through charity. For Netflix, it’s an opportunity to showcase the Sussexes’ star power in a more subdued, meaningful way, moving beyond the divisive drama of their earlier projects.

The business of brand Sussex

Even with limited screen time, Polo reminds us of Harry and Meghan’s ability to remain relevant. While the series doesn’t include explicit sponsorships, it shines a light on the luxury brands and cultural cachet that come with the world of polo. For advertisers and media professionals, it’s a subtle demonstration of how their presence can elevate both causes and commercial opportunities.

Their Netflix partnership was always more than just a content deal; it’s about building a global platform for their brand. Whether they’re highlighting philanthropy, supporting businesses, or simply staying in the public eye, Harry and Meghan continue to blend personal influence with professional ambition.

Is Polo a new beginning?

While Polo may not generate the same level of buzz as their earlier Netflix ventures, it signals a strategic shift. By stepping back from the spotlight and focusing on causes close to their hearts, the Sussexes are rebranding themselves as quieter yet still influential cultural figures. For Netflix, the series represents another way to maximise their investment in the couple’s high-profile partnership.

Whether this strategy resonates with audiences remains to be seen. But with Polo, Harry and Meghan appear to be playing the long game; one focused less on making noise and more on leaving a lasting impact.

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Dentsu Creative has launched its 2025 Trends Report, Fragment Forward, which reflects a fragmented world where shared experiences and aspirations are growing scarcer, shaped by long periods of isolation, the cost of living crisis and a fragmented media landscape.

The 2025 trends report not only asks what brands and businesses need to win in the age of the algorithm but also what humans need to thrive in a world where old certainties are crumbling, and new possibilities are emerging.

Fragment Forward explores five trends shaped by the age of the algorithm, examining the implications for brands, businesses and individuals and exploring both timeless human desires and their most timely and trending expressions.

The 2025 Trends Report dives into five key themes reshaping the future:

1. The “Good Enough” Life – Redefining what it means to live well in a world where old milestones are less achievable, and shared aspirations are fewer.
2. The Togetherness Deficit – Exploring the new technologies, experiences and narratives emerging in our attempts to reignite a lost sense of togetherness.
3. Generation Blur –A world where old generational boundaries are much less accurate predictors of attitudes, behaviour, or affinity.
4. Curiouser and Curiouser –With all the world’s content available at the touch of a button, consumers are exploring compelling stories across culture and languages.
5. Algorithms and Blues – Unpacking a world where more and more of the content we see is shaped by the algorithm and crafted by AI.

The report draws from insights across Dentsu Creative’s global network, showcasing actionable opportunities for brands to engage in a more culturally sensitive, connected, and inclusive world. Each trend is accompanied by case studies and detailed sub-trends, equipping brands with the knowledge they need to navigate a market where consumer priorities are continually evolving.

“Winning in the age of the algorithm means winning an outsized share of culture, not just a robust share of voice,” Abbey Klaassen, global brand president of Dentsu Creative, said. “Our work with Nutter Butter, for example, understands how to hack the weird and wonderful side of internet culture to revive the fortunes of a 55 year old cookie brand.

“The challenge brands face in the age of the algorithm is that it is very easy for all highly optimised content to start to look the same – so when we think about the efficiency AI brings us we also need to blend AI-Assisted production with craft and brand distinctiveness. Our work with Adobe is helping brands make AI work for them, rather than contributing to a sea of sameness.”

Yasu Sasaki, global chief creative officer, dentsu said: “As a creative, I’m constantly looking to the future, but inspired as well by the craft and beauty of the past. Some of the most innovative projects we’ve been involved in combine leading edge technology with the simplest and most human impulses; like Hugtics, a project that enables users to give themselves a hug. Or the “Upcycling Possibility” project which combines the traditional art of Kintsugi with circuitry and electronics to create an entirely new drinking experience.”

Global CSO of Dentsu Creative, Pats McDonald, said: “As we look around, we see a world where marketers and innovators are using all manner of tactics to try to engineer the sense of togetherness we once perhaps took for granted.

“From innovative wearables to social experiments to the power of nostalgia, there is a huge drive to fill what we call the ‘togetherness deficit’. Which provides a huge challenge, and opportunity for the industry; to create ideas and platforms that connect brands to culture, businesses to customers and communities to one another.”

Amit Wadhwa, chief executive officer, South Asia, Dentsu Creative, added: “In an age where technology and culture intersect at every turn, the 2025 Trends Report captures the evolving ways people live, connect, and define themselves. From reimagining what a fulfilling life looks like to navigating the ever-blurring lines between generations, these trends reflect a world in flux—one where shared aspirations are fewer but possibilities are endless.

“As we confront the challenges of algorithms shaping content and a growing togetherness deficit, the report offers insights into how brands, businesses, and individuals can thrive. It reminds us that while technology drives change, it’s human creativity and connection that will ultimately shape the future.”

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As part of its presence at SXSW Sydney in 2024, The Growth Distillery hosted a series of 10 vodcasts (a podcast with video) hosted by Dan Krigstein and branded Rules Don’t Apply.

The ninth guest in the series was Dr Karen Nelson-Field, a globally recognised authority on the attention economy.

Nelson-Field reveals how platforms dictate what we see, how we think, and where we focus. With over 3 billion data points collected across 17 countries, Karen unpacks the science of attention and the hidden mechanisms shaping our digital interactions.

Discover why not all reach is created equal and how user experience design, immersive formats, and platform engineering control what captures our attention. Karen also shares invaluable insights into the future of marketing, offering guidance on how brands can adapt to these dynamics to drive better results.

From the transformative potential of augmented reality to the surprising truths about attention measurement, this episode is filled with practical takeaways for marketers, innovators, and anyone navigating the rapidly changing digital landscape.

Krigstein opened the chat by stating that Nelson-Field was an interesting guest to have on the series because while the thematic of the series is ‘Rules Don’t Apply’, she is “fundamentally in the business of writing rules and then re breaking them and writing rules again.”

Nelson-Field: It’s interesting you say that because my whole agenda since leaving university was to kind of, to your point, deconstruct the rules and re-put them together. So I think you’re correct in that way. But there has to be rules with measurement, right? Because iit’s supposed to be universal and systematic. So there needs to be rules which we can see in our data, but to your point, you have to break them down. It’s first principles thinking.

Krigstein: What are the forces shaping where and who we point our attention to right now?

Nelson-Field: The thing that drives our attention is not what you think. You’re less in control of your own attention. The user experience of the platform or the format is what actually forces you to pay attention or not.

See also:
• Rules Don’t Apply: The Battle for Creativity: AI vs. Humanity with Futurist Brian David Johnson
• Layne Beachley first guest on Rules Don’t Apply vodcast series from The Growth Distillery

By Matt Coote, Country Manager for Australia, GumGum

If 2024 taught us anything, it’s that the digital advertising playbook is evolving. Between Australia’s Privacy Act reforms demanding transparency and Google’s decision to delay phasing out third-party cookies, it’s become clear that marketers need to pivot as they can no longer rely on outdated practices. But rather than obstacles, these changes present an opportunity to embrace strategies that prioritise consumer trust and privacy.

Contextual advertising delivers this by analysing the content users are engaging with in real time, instead of relying on behavioural data. Imagine watching footy highlights and seeing an ad for your club’s jersey on sale. Or a cooking tutorial featuring an ad for coffee beans while showing how to brew the perfect cup. These experiences feel natural, relevant, and most importantly, non-intrusive. It’s advertising that’s in sync with what people are doing, not where they’ve been.

The Privacy Act reforms were a turning point for Australian marketers. With stricter requirements for transparency and consent, businesses face new challenges in how they collect and use consumer data. This shift also opens the door for a new approach—one that respects consumer privacy and fosters trust.

At the same time, Google’s delay in removing third-party cookies buys some time for marketers, but it doesn’t change the inevitable trajectory.

The message is clear – marketers reliant on cookies need to adapt to alternative solutions or risk becoming obsolete. The shift to privacy-first advertising is not just a regulatory requirement but an opportunity to build deeper, more meaningful connections with consumers.

Modern contextual advertising leverages AI to analyse not just keywords but deeper signals like page sentiment, visuals, and audio cues. This allows brands to craft highly targeted campaigns that are impactful without being intrusive.

What’s more, it offers unparalleled brand safety. By avoiding irrelevant or inappropriate content, marketers can ensure that ads land in the right environment, which is crucial for building trust with audiences.

As we head into 2025, contextual advertising isn’t just a buzzword—it’s a blueprint for future success. It offers a win-win scenario for Aussie marketers – compliance with privacy regulations while delivering impactful, consumer-centric campaigns.

Brands that embrace this approach can move beyond meeting legal requirements to building stronger, more authentic connections with their audiences. In doing so, they can help set the standard for great consumer-centric advertising

In a world moving away from invasive tracking, context will reign supreme. Advertising that meets people where they are, in the right mindset, will have power to build trust and deliver results. That’s why, for next year, my bet is on contextual advertising to redefine 2025 and beyond.

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Top image: Matt Coote

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ARN’s iHeart is celebrating 55 consecutive months as Australia’s #1 podcast publisher.

In November, iHeart recorded over 6.9 million listeners and 19.4 million downloads. Four of iHeart’s podcasts ranked within the top 10, with something for everyone across the festive season.

One of the standout performers for the month was The Daily Aus, which made a remarkable leap of 20 places to reach #32. Catering to a young audience with accessible and engaging news content, the podcast surged in popularity, driven by increased interest in election coverage.

Sam Koslowski, co-founder of The Daily Aus, said: “There has never been a more important time for high-quality news tailored to younger audiences, and it’s clear the appetite is growing. Four of the month’s six best-performing episodes were related to the U.S. election – our listeners seek out The Daily Aus when the big news happens.”

Meanwhile, Audioboom’s Casefile claimed the #1 spot as Australia’s most-listened-to podcast. The Imperfects held steady at #6 overall and maintained its title as the #1 health & wellness podcast. The Kyle and Jackie O Show secured #9, reaffirming its position as the undisputed #1 on-demand radio show, while Life Uncut, hosted by Brittany Hockley and Laura Byrne, rounded out the top 10 as Australia’s #1 relationship podcast.

Corey Layton, ARN’s head of digital audio, said: “Achieving 55 consecutive months as Australia’s #1 podcast publisher is a testament to iHeart’s ability to deliver exceptional, genre- defining content that resonates with listeners nationwide. The surge in interest for news-related content highlights the growing role podcasts play in shaping conversations at home and abroad. As we prepare to welcome incredible titles like the BBC podcast slate in 2025, we’re excited to continue setting new benchmarks for podcasting excellence.”

2GB has revealed that broadcaster Mark Levy will take over as host of 2GB Mornings in 2025, stepping into the shoes of the legendary Ray Hadley, who recently announced his retirement after an illustrious 43-year career.

Levy, a seasoned broadcaster with an 18-year tenure at 2GB, has been a trusted voice for Sydneysiders, regularly filling in for Hadley and Ben Fordham. His deep connection with the audience and sharp understanding of the issues that resonate with the community make him a natural successor.

Starting on 16th December, exactly 18 years since he first joined the station, Levy will bring his distinctive voice to the 9:00am–12:00pm timeslot, ensuring the legacy of 2GB Mornings remains strong. His appointment also signals a fresh perspective for the program, which will continue to focus on live and local content tailored to Sydney’s diverse audience.

Levy’s broadcasting roots lie in sports, having covered major events such as the NRL finals, State of Origin, and the Olympic Games as a key figure in Wide World of Sports and The Continuous Call Team. He will continue his sports broadcasting duties on Friday nights and Saturdays during the NRL season.

His versatility extends beyond sports. This year, he won the coveted Australian Commercial Radio Award (ACRA) for Best News Coverage for his swift reporting on the Bondi Junction attacks. Teaming up with Ben Fordham and Will Bottom, Levy’s work led to a 40% surge in listenership during the event.

2GB content manager, Luke Davis, praised Levy’s expertise, saying, “Over almost two decades, Mark Levy has proven himself to be one of Australia’s most gifted, hard-working, and versatile broadcasters—and a favourite of 2GB listeners. As we usher in a new era of 2GB Mornings, Mark will make the 9:00am–12:00pm timeslot his own, with a fresh take on what matters most to Sydneysiders.”

For Levy, this opportunity is both a professional milestone and a personal honour. “As a young kid, I grew up listening to the talkback kings, and to be taking over a timeslot that’s been owned by a mentor and a friend for the last 20 years is something I am excited about and extremely honoured to do,” Levy said. “I’m looking forward to the challenge ahead and I can’t wait to speak to our loyal listeners every morning about the issues affecting them in what’s shaping up as an important election year.”

Levy’s arrival in the mornings solidifies 2GB’s commitment to delivering engaging, relevant, and community-focused content year-round. Listeners can tune in from Monday, 16th December, to hear Mark Levy take the reins and start what promises to be a compelling new chapter in Sydney radio.

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Emotive celebrated the launch of Deep Rising—a global impact campaign to protect the deep ocean and stop deep-sea mining— at the Coogee SLSC on Wednesday, capping off a stellar year for the agency, with standout new business wins and its most ambitious creative work yet.

The event, attended by 200 VIPs, media, and special guests, featured an engaging panel unpacking the dangers of deep sea mining, with Laura Clarke (head of impact and co-executive producer of Deep Rising), Adrian ‘Ace’ Buchan (former world tour surfer and BBC Green Sport Awards Evergreen Athlete), Michael Hogg, CSO, Emotive and Josh Kirkman (CEO, Surfers for Climate), alongside live performances from 2 x Aria award winning Lime Cordiale and instrumentalist Jake Meadows.

The World’s Largest Ocean Dispute campaign, inspired by the award-winning documentary Deep Rising, empowers individuals to take action in safeguarding the deep seabed, which faces imminent threats from destructive mining.

Through a blockchain-powered platform, people can directly engage by claiming a personalised Birthright Certificate, each linked to their own unique set of GPS coordinates mapped across the seabed at risk. With certificates available in over 90 languages, the campaign ensures inclusivity and accessibility, enabling people worldwide to participate.

This innovative initiative sends a compelling message to policymakers, urging them to prioritise the protection of our shared ocean for the well-being of future generations.

To highlight the importance of this campaign, President Surangel Whipps Jr. of Palau—a small island nation and a large ocean state, recognised globally for its leadership in sustainability and ocean conservation—delivered a powerful video message to guests at the event, urging immediate action on the protection of the deep seabed.

Simon Joyce

In his address, President Whipps emphasised the critical risks our ocean faces and the urgent need for collective efforts to protect it from further harm. He framed the Deep Rising campaign as a meaningful opportunity for individuals worldwide to raise their voices and unite to take a stand in the fight to protect our seabed.

Since its global launch, the campaign, which is headlined via a feature-length documentary narrated by Jason Momoa has garnered remarkable traction, with thousands of people reclaiming the deep seabed on behalf of humanity and future generations at deeprising.com. Crucially, the media industry has rallied to support the cause, with over $2M already committed by partners such as Nine, ARN, JCDecaux, and Mamamia – and an incredible incremental $1M of support committed in the last 20 days.

“We’re proud to support bringing awareness to Deep Rising — a compelling campaign that not only captivates with its stunning storytelling but also underscores the urgent need for environmental stewardship,” Liana Dubois, chief marketing officer at Nine, said.

Simon Joyce, Laura Clarke, Liana Dubois, Adrian ‘Ace’ Buchan, Josh Kirkman

“Our aim is to spark conversations, challenge perspectives, inform and entertain audiences, aligning with our purpose in shaping culture. Deep Rising uses the influence of creative storytelling to spark conversation on a critical human necessity.”

Lauren Joyce, chief strategy and connections officer, ARN added: “One of our core values at ARN is ‘make a difference’ and joining this campaign allows us to do just that. We’re proud to play a small part in generating support for the ocean that is integral to the wellbeing of so many of our people and our audiences.”

CEO of Mamamia, Natalie Harvey, said: “Mamamia’s purpose is to make the world a better place for women and girls and of course that includes the beautiful Pacific Ocean. Australians have a deep love of the Pacific so we wanted to help the campaign by creating awareness and driving action with our very passionate and engaged audience.”

“As lead creative agency, Emotive, on a pro-bono basis, has driven the strategy, crafted campaign assets, designed the campaign hub, deeprising.com and secured global media partners.”

Michael Hogg, managing partner and chief strategy officer, explained: “Emotive’s purpose is to create ideas that change the way people feel and we need to change how people feel about deep sea mining if we’re going to prevent the biggest mining site on earth being created under the Pacific Ocean, and an ecological catastrophe that won’t just impact us, but future generations.”

“This is an epic and unforgettable campaign,” Simon Joyce, CEO of Emotive. “It’s been a privilege for Emotive to join forces with Deep Rising and use the power of creativity for good on a global scale, as we seek to safeguard the ocean. A heartfelt thanks to our incredible media partners for their support.

“However, the journey is far from complete. We call upon the marketing industry to continue this vital support by donating media resources, ensuring we can halt this ecological disaster before it starts.”

Lime Cordiale

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Top image: Alexandra Heaven, Tom Sandow, Simon Joyce, Laura Clarke, Kristian Ilioski, Natalie Harvey, Josh Kirkman

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Assembled Group revealed experiential marketing and event management agency We Are Phoenix has joined the group of specialist agencies.

As an emerging powerhouse in experiential marketing, We Are Phoenix delivers services for their clients that incorporate brand experience, activation, outdoor events, and conferences, as well as all ancillary activities to bring those events to life.

“We couldn’t be more excited to add We Are Phoenix’s expertise to our suite of specialised marketing and communications services,” said Assembled executive chair Craig Hart.

“Their ability to orchestrate activations and experiences on the scale that Phoenix does, adds a dynamic dimension to our capabilities, complimenting the work of our other agencies.”

We Are Phoenix, led by principals Amber and Ben Coupe, based on the Gold Coast, has risen to prominence since Amber started the business in 2015, with her partner Ben, who was recently appointed into the role of CEO.

Phoenix’s team in Melbourne have relocated to the Assembled office.

The agency aims to be the national leader in delivering premium events and brand experiences and is highly regarded for the work it has done for leading brands, including Ford, Afterpay, Michelin, and Australia Post.

In 2023 Phoenix won National Corporate Management Company of the year at the Australian Event Awards and were also announced as “Event Agency of the Year” by Media Event Awards.

Amber and Ben said: “Assembled possesses the experience and interest in supporting us to reach our full growth potential. The other capabilities that Assembled has across creative, content, media, strategic communications, and consumer PR, gives us an edge in potential collaborations for delivering more solutions to our clients than we could achieve alone.”

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Top image: Amber and Ben Coupe

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The Seven Network is expanding its relationship with Fetch TV, including the launch of a new 7plus app on Fetch devices and the integration of its internet-delivered linear broadcast channels into the Fetch electronic program guide.

Seven has also introduced a second virtual playlist channel, 7+ Showcase, on Fetch It joins the 7plus virtual playlist channel, which has been part of the Fetch electronic program guide since 2019.

The new 7plus app on Fetch will offer news, sports and entertainment via video on demand and live streaming.

The integration of Seven’s internet-delivered linear broadcast channels into the Fetch electronic program guide means Fetch customers who do not have access to free-to-air TV via an aerial can now access Channel 7, 7two, 7mate, 7Bravo and 7flix directly from the guide.

The new 7plus Showcase virtual playlist channel covers some of the best-known drama shows in the world, from the biggest studios including Sony, NBC, Disney, and ITV Studios.

The 7plus channel features reality and true crime content from premium content partners including NBCUniversal and Warner Bros Discovery. Fetch virtual playlist channels provide a bridge between the digital and linear TV worlds, offering those who prefer to browse via the traditional TV guide a familiar way to discover and access on demand content within 7plus.

Seven group managing director, digital, Gereurd Roberts, said: “After growing more than 30% this year, 7plus is set for a massive 2025 and our expanded presence on Fetch will only add to our growth story, giving Fetch TV’s customers new ways to connect with our great content.

“7plus is the market leader in free video on demand and FAST channels and it will go into 2025 with a powerful line up of new content. The arrival of AFL and cricket on 7plus means that, for the first time, the two most popular sports in Australia will be available to stream, for free and live. The ‘7plus First’ strategy for overseas drama programming will see a premium new series launch on 7plus every single month across all of next year.”

Richard Henson, director distribution & content partnerships at Seven Network, said: “The growth of 7plus is underpinned by its premium content library and first-run exclusives, as well as Seven hits such as Farmer Wants A Wife, The Voice, Australian Idol and My Kitchen Rules; overseas drama series; exclusive content; and the most streamed drama in Australia – Home and Away. Seven pioneered FAST channels in Australia and 7plus now has more than 50 channels, with more to come. The audience viewing of our FAST channels has jumped more than 30% this year, with streamed minutes growing 84% year-on-year.

“Our expanded relationship with Fetch TV opens up new opportunities for Australians to enjoy the great content on Seven and 7plus.”

Fetch TV chief content and commercial officer, Sam Hall, said: “Providing easy access to quality free content has always been a central tenet of the Fetch customer proposition. Our strategy around content aggregation is to ensure that Fetch viewers can easily access the content they love in the way that best suits them, and our expanded relationship with the Seven Network opens up new opportunities for us to do this. Fetch viewers can now watch Seven content via their choice of traditional broadcast, IP feeds and virtual playlist channels in the TV guide, or via our new 7plus app.”

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Top image: Gereurd Roberts

Taz Papoulias has launched his media agency, seamlessmedia.com.au, aimed at addressing the flaws of conventional agencies.

With almost 20 years of experience at agencies such as Murmur, True and Whitehat, Papoulias said he had a lightning bolt moment when he realised why agencies were moving to monthly agreements and customer loyalty was low.

“After launching some of the most successful agencies and divisions in Australia over the last 20 years, not much has changed. When you unpack it – it comes down to ‘Value’ and ‘transparency,” said Papoulias.

He noticed that a fair value exchange must occur between agency and staff, not just agency and client, which he pinned down to low staff retention rates. But the core of his business model is focussed on transparency.

“In a competitive landscape, agencies aim to maximise income from clients, on average, taking 4-to-6 bites of the cherry from retainers to media rebates, media mark-ups, overcharges, marking up offshore staff exorbitantly, placing more people than required on an account. And the client has no idea! On a typical $100k media buy, some Agencies make up to $40k and that is ridiculous,” he said.

Papoulias plans to disrupt the market by not only educating it but also encouraging clients to ask questions about how their agency is generating income from them to uncover any hidden fees. He expects backlash from the industry with his approach but is unphased.

“Just to be clear, it’s not all agencies, but it is a significant amount that profiteer. The only agencies that need to worry are the ones who take advantage of their clients, and, given a small marketing campaign has driven 100+ genuine leads – it looks like there are quite a few. If the market shifts to become more transparent and I go out of business – then that is a win for me because it means the client wins,” Papoulias Said

seamlessmedia.com.au has completed its soft launch with several new clients and is currently working on a unique Video offering for brands, AI automation, and is heavily recruiting.

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Top image: Taz Papoulias

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BBC Studios and ARN’s iHeart have signed a multi-year partnership deal that will see iHeart represent BBC podcasts in Australia. iHeart will sell inventory across hundreds of hours of premium BBC podcasts as well as amplifying content in market.

The BBC is one the largest producers of audio in the world with a range of premium podcasts that are widely listened to by audiences in Australia and New Zealand, including BBC Global News Podcast, Football Daily, The Infinite Monkey Cage and History’s Youngest Heroes. Earlier this year a dedicated audio division was created in BBC Studios, paving the way for the company to fully realise the commercial opportunities in the global audio market.

The partnership provides advertisers with access to over 900,000 Australians who choose to listen to BBC content every month.

Louise la Grange, SVP, BBC Audio, digital news and streaming BBC Studios, said: “The BBC has a big and loyal podcast fan base in Australia. We’re delighted to partner with market leader iHeart for representing the BBC’s rich portfolio of shows including World of Secrets, The Global Story and You’re Dead to Me to the ad market in Australia where iHeart has enormous scale, deep expertise and a proven track record of representing premium brands.”

Corey Layton, ARN’s head of digital audio, said: “The BBC is renowned for producing some of the world’s most compelling and high-quality podcasts, and we’re thrilled to bring their premium, brand-safe podcast slate to Australian audiences while delivering valuable opportunities for advertisers. By leveraging our local expertise and scale, we’re excited to amplify the reach of BBC podcasts and further cement iHeart’s position as Australia’s leading destination for audio entertainment.”

Jamie Chambers, VP ad sales and BBC StoryWorks, BBC Studios ANZ, said: “iHeart is an industry leader in ANZ. This partnership opens the door to advertisers looking to access scale deals in the audio space across BBC and other inventory represented by iHeart. For brands who want the very best of BBC audiences in Australia & New Zealand, we now have even greater capabilities to incorporate BBC Podcasts alongside campaigns accessing the rest of the BBC Studios portfolio including BBC.com, BBC News & BBC Studios channels on YouTube, our TV channels on Foxtel and Fetch, TopGear.com, BBC Social channels, and the recently announced FAST channels on 9Now.”

Fenton Stephens has appointed Chris Ellis as executive creative director.

Ellis joins the Melbourne-based independent agency from Special, where he was creative director.

He has created original, memorable and influential work for brands including Jeep, Specsavers, Virgin, Bonds, Mountain Goat, Woodstock and Movember, has been featured across trade media and recognised by D&AD, Cannes, One Show, Clios and Spikes.

Ellis was also state head of AWARD School for two years and has served on international award juries, including NewYorkFestivals and ADSTARS.

“It was clear to me and the partners from the outset that Chris would be a great fit, and we have already gained traction with several significant projects,” founding creative partner Alex Fenton said. “Chris embodies our philosophy of intelligence and imagination. Along with his energy and enthusiasm, it makes for an exciting new chapter for Fenton Stephens.”

Ellis said: “During my career, I’ve been privileged to work with some of the greatest creative agency leaders Australia has ever produced: Scott Whybin, Ant Keogh, Tara Ford, Julian Schreiber, Tom Martin, Sean Cummins, Jim Ingram, Ben Couzens, Sarah McGregor and Ryan Fitzgerald. I’ve been somewhat of a bowerbird, a creative kleptomaniac stealing from the best. Alex is the next one I want to borrow from.”

“With strong foundation clients, Alex and the partners have built a venerable business that has been thriving for nearly 20 years. The new multidisciplinary offering spearheaded by world-class performance marketing makes for a powerful proposition. I’m thrilled to formally announce my new home as we prepare to launch some very exciting work this side of Christmas, followed by a full agency rebrand in the new year.”

CEO Simon Antonis added: “With our performance and research capabilities we’ve built a business that is now part creative agency, part performance agency and part business consultancy, bridging creative with tangible outcomes. Chris’ track record tells us he’s done that time and time again across a vast array of categories with highly effective and awarded work.

“We’re thrilled to have his wealth of big brand experience and hustle in the building to help deliver clients greater results. Complemented by his dedication to mentoring the next generation — and his nice guy attitude — Chris is well equipped to help take the agency from strength to strength over our next 20 years.”

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Top image: Alex Fenton and Chris Ellis

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VML and ADF Careers have launched a new recruitment advert showcasing that submariners are ordinary individuals who choose to do the extraordinary.

I Am a Submariner aims to build a greater understanding of the role and generate interest in submariner careers, often overlooked because of their classified nature and misunderstood lifestyle.

“Submariners are the silent protectors of Australia, operating cutting-edge technology and gathering intelligence on classified missions, all while remaining undetected,” said commodore Jan Wiltshire, director general of Defence Force Recruiting. “This advert reveals the human side of the submariner story, showcasing the purpose, pride, and adventure that define this career.”

The creative places real submariners front and centre, revealing their incredible abilities, skills, and operations performed onboard a submarine.

VML creative director James Wills said: “Submariners are everyday people. You walk past them at the shops and sit next to them at cafes, but you’d never suspect they carry out secret missions all over the world. That was the disconnect we needed to solve. By peeling the curtain back on this career, “I Am a Submariner” reveals that everyday people are trained to do incredible things.”

Thomas Tearle, CEO of VML AUNZ, said: “In this final major initiative of our six-year partnership with the ADF, we’re honoured to have contributed to inspiring the next generation of recruits for the Navy’s future submarine capability.”

The agency’s I am a Submariner campaign will run across OOH, SVOD, social media, and digital, accompanied by a robust presence on the ADF Careers website.

Credits Agency: VML

Executive Creative Director: Rich Williams
Creative Director: James Wills
Copywriter: Charlie Dejean
Art Director: Andrew Bao
Executive Producer: Rachel Rider
Lead Producer: Sarah Jane Sands
Chief Strategy Officer: Alison Tilling
Managing Director: Sarah Bailey
Managing Partner: Vanessa Tout
Group Account Director: Rhys Thomas
Senior Account Director: Sarah Latremoille
Senior Account Manager: Jess Osrin
Designer: Lewis Barnes
Lead Editor: Aleksandar Janev
Motion Art Director: Mitch Clark
Production: VML

Director: Stefan José
Director of Photography: Don Buppapirak
Composer: Dmitri Golovko @ DG Music
Colourist: Matt Fezz
Sound Engineer: Liam Annert
Sound House: Rumble Studios

Client: Defence Force Recruiting
Director General Defence Force Recruiting: Commodore Jan Wiltshire
Director Military Recruiting: Group Captain Chris Ellison
Deputy Director Recruiting Attraction: Wing Commander Fiona Van Der Snoek

Staff Officer Recruiting Attraction: Lieutenant Renee Clarke/Lieutenant Maxwell Stein

General Manager, Marketing: Fiona Boughton
National Marketing Manager: Zerlina Burns
Navy Brand Lead: Sonia Drew
Navy Marketing Officer: Shirley Stracchi
Social Media Lead: Inci Omay
Social Media Officer: Hannah Little
National Digital, CX & Social Media Manager: Marc Unger

Media: Universal McCann

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Monday 9 December 2024: VOZ Total TV Ratings Overnight Top 30 – Programs ranked on reach

Total People TV Ratings

Nine’s A Current Affair recorded a total TV national reach of 1,435,000, a total TV national audience of 966,000, and a BVOD audience of 72,000.

Nine’s 9News recorded a total TV national reach of 1,888,000, a total TV national audience of 1,158,000, and a BVOD audience of 93,000.

Seven’s Seven News recorded a total TV national reach of 1,843,000, a total TV national audience of 1,163,000, and a BVOD audience of 59,000.

Also on Seven, The Chase Australia recorded a total TV national reach of 1,118,000, a total TV national audience of 506,000, and a BVOD audience of 28,000.

10’s airing of Wheel of Fortune Australia recorded a total TV national reach of 763,000, a total TV national audience of 320,000, and a BVOD audience of 10,000.

People 25-54

Nine’s 9News:
• Total TV nation reach: 508,000
• National Audience: 283,000
• BVOD Audience: 46,000

Seven’s Seven News:
• Total TV nation reach: 445,000
• National Audience: 271,000
• BVOD Audience: 30,000

Seven’s The Force – Behind the Line:
• Total TV nation reach: 292,000
• National Audience: 163,000
• BVOD Audience: 19,000

10’s Wheel of Fortune Australia:
• Total TV nation reach: 274,000
• National Audience: 122,000
• BVOD Audience: 6,000

People 16-39

Nine’s 9News:
• Total TV nation reach: 207,000
• National Audience: 103,000
• BVOD Audience: 23,000

Seven’s Seven News:
• Total TV nation reach: 167,000
• National Audience: 97,000
• BVOD Audience: 14,000

Seven’s The Force – Behind the Line:
• Total TV nation reach: 100,000
• National Audience: 53,000
• BVOD Audience: 10,000

10’s Wheel of Fortune Australia:
• Total TV nation reach: 118,000
• National Audience: 51,000
• BVOD Audience: 3,000

Grocery Shoppers 18+ TV Ratings

Nine’s 9News:
• Total TV nation reach: 1,501,000
• National Audience: 944,000
• BVOD Audience: 75,000

Seven’s Seven News:
• Total TV nation reach: 1,494,000
• National Audience: 952,000
• BVOD Audience: 47,000

Seven’s The Force – Behind the Line:
• Total TV nation reach: 811,000
• National Audience: 465,000
• BVOD Audience: 27,000

10’s Wheel of Fortune Australia:
• Total TV nation reach: 592,000
• National Audience: 247,000
• BVOD Audience: 8,000

Data © OzTAM and Regional TAM 2024. Not to be reproduced, published or communicated (electronically or in hard copy) in whole or in part, without prior written consent of OzTAM and Regional TAM.