The unmistakable green and gold of Rolex has been replaced by the iconic emblem of Louis Vuitton, heralding a new chapter for the Formula 1® Australian Grand Prix. As the pinnacle of motorsport converges with luxury branding, this shift represents more than mere sponsorship, it marks the dawn of a new era where speed meets sophistication. According to Nick Bower, general manager of ad sales at Paramount Australia, the inclusion of Louis Vuitton signals a commitment to transforming the Grand Prix into an experience that transcends the traditional boundaries in sport.

“More Australians watch our coverage than anywhere else ,” Bower says.

Last year, the Grand Prix attracted 3.2 million viewers, a 30% increase on 10 Play, with 1.6 million Australians tuning in for the race itself. This remarkable achievement established the event as the #1 sporting spectacle of the day and confirmed the growing fervour for Formula 1 in Australia.

This year, expectations are higher. The track is the same, but the cars are faster, and the stakes are even greater. But beyond the battle on the asphalt, there is another race – the competition for attention, for viewership, for the ability to elevate Formula 1 beyond a sport and into a spectacle. With Louis Vuitton now draped across the Grand Prix, this event is just about speed.

A legacy of unmatched coverage

As the Formula 1 Louis Vuitton Australian Grand Prix 2025 approaches, Ten and Paramount Australia are set to deliver comprehensive coverage of one of the biggest sporting events on the Australian calendar. Having broadcast the race for over 20 years, the network’s deep-rooted expertise ensures fans get the best viewing experience, both on free-to-air television and digital platforms.

For Bower, it’s their longevity that sets their coverage apart. “We’ve been broadcasting this for over 20 years. We have the most experienced team capable of bringing to life any campaign for a client possible,” he says. “Frank Smith, our EP, has been doing this for over 10 years.”

Beyond the race itself, Ten’s cameras capture the full spectacle, from the grandstands to the paddock, and from Melbourne Walk to the hospitality suites. “I’m very proud of the work we’ve done to date,” Bower continues. “It’s more than just a race. Our coverage and cameras bring it all to life, from the front gates through to what happens on track.”

Major sponsorships and brand collaborations

With Louis Vuitton taking over as the race’s title sponsor from Rolex, the event continues to cement itself as a fusion of high-performance sport and luxury branding. This evolution is also reflected in the strong presence of commercial sponsors, with brands integrating into the broadcast in new and creative ways.

“There’s a difference as to how we work with clients,” Bower explains. “For example, Shannon’s, who are down on the track, have a partnership with the Australian Formula One Grand Prix team. For us, it’s about bringing to life what they’re doing down there, along with any additional broadcast or retail messaging they may have.”

Major players like Harvey Norman and American Express are also increasing their involvement. “Harvey Norman is a traditional sports broadcasting partner, and they know the power of live sport. We ensure we’re working with them to hit the messages that matter most,” Bower says. “American Express will have big branding on track, and our job is to bring that activation to life for viewers at home.”

Kristie Gee, head of television and radio marketing, Harvey Norman, said: “Ten’s coverage of the Formula 1® Louis Vuitton Australian Grand Prix is a mainstay for Harvey Norman, as we connect to Australian audiences through the power of Live Sport. The 10 Sport production and sales teams make it easy for us to make the most of this iconic event. The Formula 1® embodies the perfect combination of technological advancement, precision engineering, and high-performance entertainment that resonates with our customers.”

The growth of F1 and the ‘Drive to Survive’ effect

Formula 1 has seen unprecedented global growth, largely fuelled by the success of the Netflix documentary series Drive to Survive. The series has transformed the sport’s appeal, introducing new fans and making household names of drivers and teams.

“I think Formula One is certainly in a strong position as a sport right now,” Bower says. “That’s off the back of big changes Liberty Media has made, including opening the doors for Drive to Survive to tell those behind-the-scenes stories. All of these things have contributed to a strong outcome on track, with great teams working hard to entertain and drive strong engagement.”

Frank Smith, executive producer of sports at Paramount Australia, acknowledges the impact of storytelling in F1’s surge in popularity. “It’s important to realise the difference between the first race of the year, say, the second or third. Everything is more important in the first race – practice sessions have purpose, qualifying is tense, and the race itself is chaotic,” he explains. “It’s the first opportunity for drivers to make their mark, and telling those stories is one of the beauties that ‘Drive to Survive’ has helped with.”

Ten’s coverage benefits from its long-standing relationships with drivers and teams. “We have producers and editors that travel the world and come back for this event specifically, which helps us engage teams and drivers,” Smith adds. “For instance, we’ve secured an exclusive with four-time reigning world champion Max Verstappen. He enjoyed his experience with our team last year, and was more than happy to come back and do it again.”

The Grand Prix as a cultural phenomenon

Beyond the race, the Formula 1 Australian Grand Prix has evolved into one of the country’s biggest lifestyle events – a spectacle that extends far beyond the pit lane. With over 400,000 attendees expected, the event now boasts high-end dining, luxury activations, and entertainment zones, making it a must-attend social and sporting occasion.

“The AGP has done incredible work outside of the track,” Smith notes. “Pop-up restaurants, premium experiences – it all adds to the colour of the event. It’s no longer just about the race itself. Melbourne Walk has become a major attraction, where fans meet their drivers, get signatures, and take photos. That alone is now one of the biggest events of the weekend.”

Bower also highlights the unparalleled demand for tickets. “If I think back to my first Grand Prix, I used to be able to get some tickets for family and friends. Now, it’s impossible. Everyone asks me for a ticket. They are essentially the hottest tickets in town.”

This cultural shift has also translated to fashion and branding. “If you look at someone like Lewis Hamilton, his fashion sense alone is a statement. He’s virtually a walking advertisement for fashion brands,” Bower says.

The focus on fashion also aligns with a notable surge in female viewership. Data provided by Paramount Australia shows female audience growing 8% year-on-year and making up 33% of total race viewers, up from 32% in 2023. Over the 2024 race weekend, the event reached 1.24 million women, while 10 Play recorded its highest-ever female audience for the race, with a 66% year-on-year increase. Male viewership also rose by 4%, reflecting the sport’s growing appeal across demographics.

The Formula 1 Louis Vuitton Australian Grand Prix 2025 on Network 10

With a world-class field, the return of the season opener to Melbourne, and a huge on-ground presence, Ten is preparing for another record-breaking broadcast. “Our coverage last year was enormous because of our strong on-ground presence,” Bower says.

The Formula 1 Louis Vuitton Australian Grand Prix 2025 promises to deliver high-speed action, luxury experiences, and the kind of storytelling and spectacle that has made F1 one of the world’s fastest-growing sports. With Network 10 leading the coverage, fans can expect to be taken beyond the race, into the heart of the teams, drivers, and the event itself.

As the engines roar to life in Melbourne, one thing is certain – Australia will be watching.

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News Corp Australia gave media buyers a sleek and structured presentation at D_Coded that hit at the core of their offerings – effective ROI, interesting content and new innovations – backed by clients who have seen the results.

Mediaweek spoke to media buyers who attended the event and discovered what stood out for them and for their clients, including the partnership with Tubi and achieving ROI.

Peter Horgan, outgoing CEO of Omnicom Media Group, said News Corp Australia’s holistic solutions were strong and it was clear how their data is activated through the platforms and engagement they are selling, backed by the case studies of Subway, Chemist Warehouse, Inspiring Vacations and Mars Petcare.

“I thought the onstage Q&A with Rodica Titeica (Subway Australia CMO) was actually really powerful in terms of having the client talking about their own experience dealing with the sales team,” he said.

“I think the challenge with news is it’s always been quite difficult to navigate, and I think Lou and her team have really done their best to try and simplify and own the whole briefing, response and measurement proposition.”

Brittney Crowley, head of Sydney investments, UM, noted News Corp’s scale and ability to target were robust offerings.

She also pointed out News Corp’s emphasis on trust and brand safety in the presentation and engaged reach as highlights.

“We can have goals and KPIs to reach as much audience as we need to, but it’s really about converting that audience,” she said. “I think more businesses are strapped for cash and they have higher business targets. We really need to be proving the effectiveness of the dollars that we’re investing.”

Kevin Fernandes, Havas’ national head of partnerships and AdTech, highlighted News Corp’s insights into its reach, measurable outcomes and engagement which he said is the “silver bullet that a lot of agencies look for.”

“I’m glad that the presentation was in agency language for us. I’ve been to multiple upfronts where the bells and the whistles are spoken about, but the real-term applications are very limited.”

From an indie agency perspective, CEO of IMAA Sam Buchanan said the announcements resonated well with independent agencies. “Being able to target is nothing without scale.”

Brian Gallagher, chair of Boomtown, applauded News Corp for talking about their results and what their products did for their business. “That’s rare to get that public commentary from senior clients about success and I think for me that made the whole thing,” he added.

News Corp Australia’s partnership with Tubi

D_Coded also marked the official welcome of Tubi into the News Corp Australia fold. The Fox-owned ad-supported streaming platform boasts 97 million monthly viewers globally and is a highly sought-after platform by Gen Z and Millennials.

In a chat with Mediaweek, Lou Barrett, News Corp Australia’s managing director of client partnerships, called Tubi a “sleeping giant” that’s primed for advertisers.

“Tubi is the big one. We haven’t had any CTV in our stable before, which allows us to engage with advertisers who have traditionally focused on broadcast TV and streaming services.”

For media buyers, the general consensus was that Tubi is an “interesting” and “exciting” offering.

Sue Squillace, CEO of Mediahub ANZ, called the video platform a complement that rounds out what News Corp can offer. “If the content on Tubi is good, viewers will follow. And I think that’s the critical thing – having the content right.”

Also sharing a similar view on the importance of the content slate was Horgan, particularly as it competes with YouTube. He said: “It really comes down to are they (News Corp Australia) willing to invest in content.”

Buchanan had a ‘watch-and-see’ stance in terms of what Tubi will mean for indie agencies. He said: “I know what they (News Corps) can do when they throw the might and the force behind all of the assets to grow it. I think it will be really interesting to see how it plays out.”

Fernandes called Tubi an “attractive proposition” but noted that for Havas clients that would be dependent on the “premiumness” and how brand safe the content is.

Meanwhile Crowley noted that while there is already so much competition in the streaming platform space, “the fact that it is free is attractive for consumers and for advertisers.”

She added: “We’d want to understand more about how we’re driving audiences to view in that environment, how we’re engaging them, considering the wider video landscape.”

D_Coded’s stand outs

The event clearly proved a successful afternoon for News Corp Australia as it put all its offerings and insights on the table for partners, clients and agencies.

For Gallagher, while admittedly not a customer of news products, he expressed interest in a closer look at the Intent Connect, the insights platform. “It seems to me that they’ve taken a really broad and differentiated array of products, and through that dashboard, they’re bringing together all the core values of those properties.

“I’d like to have a bit of a deeper dive on that. I think that looks really interesting.”

Crowley noted there is potential for advertisers to increase spend by being smarter with opportunities at News Corp. He said: “I think there’s great opportunity for partners and agencies to work with News Corp and be very upfront about their business challenges, the best way to attack those, to activate, and then measure effectiveness and outcomes – which is really what clients are wanting to know. So, that may convert into increased spend.”

Fernandes highlighted the case studies presented and the real-time applications of their products as highlights. He also pointed to the use of AI and how Intent Content will evolve. “I’m excited to see how we can bring that into our world and unlock some more media dollars,” he said.

Horgan’s stand outs from the afternoon was ROI. “There are a lot of powerful assets there making it more simple to transact with, owning the journey for agencies and de-risking and starting to prove our ROI, I think that becomes self-fulfilling.”

For Buchanan, News Corp “hit the nail on the head” with its CTV and video offering and the ability to use and dive into their data and access that, in addition to the tech partnerships.

Meanwhile, Squillace’s highlight was the client testimonials that proved to be a “really good way to showcase and demonstrate their theme around engagement, reach and results.”

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The Media Forum Summit in Sydney on Thursday offered a timely exploration of the rapidly evolving world of video and screen-based content. Focused on how to enhance viewer engagement and maximise the potential of television as a device, the panel discussion titled How Do You Increase Attention and Reach by Maximising the Potential of the TV as a Device? featured a lineup of influential voices from the industry. Moderated by Jason Tonelli, CEO of Zenith, the panel included Melody Townsend, general manager – group marketing at Bank of Queensland Group, Willem Paling, head of analytics at IAG, Elizabeth Baker, chief investment officer at Zenith; and Nikki Rooke, director of sales – Total Television at Nine.

The expanding definition of video

The panel kicked off with a deep dive into the definition of “video,” a term that has broadened significantly in recent years. Baker articulated this shift, describing video as encompassing “all audio-visual content,” spanning traditional television, YouTube, and interactive digital experiences. “It’s no longer just about appointment viewing,” she said, highlighting the rising trend of personalised content consumption.

Rooke added another layer to the discussion, pointing out the varied viewer behaviours that accompany different platforms. “Engagement isn’t the same when someone’s watching at a bus stop compared to lounging on their sofa,” she said, emphasising the need to tailor strategies to the specific context in which video content is viewed.

Balancing efficiency and effectiveness

A key theme that emerged was the tension between efficiency and effectiveness in advertising. Townsend stressed the shift towards performance marketing, driven by executive demands for measurable ROI. “We need to show that we can be efficient in our spending while also driving long-term brand value,” she said.

Paling offered some valuable insights, noting that while market mix modelling has become a vital tool for assessing advertising effectiveness, it risks oversimplifying the role of traditional media like television. “There’s a misconception that if we can’t see immediate sales spikes, then TV isn’t effective. Yet, our studies consistently show that TV can drive brand awareness and long-term profitability,” he explained. He urged marketers to consider broader performance indicators beyond immediate ROI, highlighting how effective brand storytelling can yield substantial gains over time.

Rooke agreed, sharing thoughts on how television might not always come out on top in efficiency comparisons. However, when it comes to profitability and long-term growth, TV often proves its worth. “We’re urging advertisers to look beyond efficiency metrics and consider the broader impact of branding efforts,” she asserted.

The convergence of media channels

As the discussion progressed, the convergence of linear TV, streaming, and digital video became a hot topic. Panelists agreed that this growing overlap creates both challenges and opportunities for marketers. Baker pointed out the need for an integrated approach to media planning, urging brands to leverage data effectively to navigate this fragmented landscape.

“Marketers must approach planning as a holistic endeavour,” Baker said, advocating for tools that allow for the seamless integration of various media. “We have to treat every touchpoint as interlinked, ensuring that our strategies across linear and digital channels support one another rather than working in silos.”

Rooke added that the appeal of live events, like sports, which continue to attract large audiences and provide unique viewing experiences. “Shared experiences create a sense of community that’s irreplaceable, even in a world full of on-demand content,” she explained, encouraging marketers to tap into this trend.

The importance of creativity

As the conversation turned toward creativity, Rooke expressed her frustration at the current state of advertising. “Creative quality seems to be declining, and we need to change that,” she said. The panelists agreed that brands should strive to create standout content that resonates with audiences on an emotional level.

“Why not aim for a Super Bowl-level ad every time you invest in media?” Rooke challenged her colleagues. The call to action reminded the room that engaging storytelling is key for effective advertising and forming lasting connections with viewers.

Insights and case studies

To further illustrate their points, Baker provided an example of how her team leveraged a successful multi-channel campaign for a major retail client. “Through a combination of TV and digital ads, we were able to create a narrative that resonated deeply with audiences, leading to a significant uplift in both brand awareness and sales during the campaign period. The interplay between the channels amplified our message and ensured that the storytelling remained consistent,” she shared.

Paling added that data analytics can refine audience targeting, citing a recent IAG campaign where precise targeting led to better engagement rates. “Utilising analytics not only improved our reach but verified the creative aspects, ensuring that the messaging matched audience expectations,” he said, further highlighting the importance of a data-informed approach in crafting effective content.

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Former chief revenue officer of Seven West Media, Kurt Burnette, has announced his new position as content consultant at Cre8tive AI. With a 30-year tenure in the media industry, Burnette brings a wealth of experience in creating, consuming, and monetising premium video content across entertainment, news, and sports.

Throughout his career, Burnette said he’s been driven by a passion for technology and innovation, particularly the transformative role these elements play in reshaping the media landscape. “AI and its all-encompassing game-changing capabilities are at the heart of it all,” he wrote in a recent LinkedIn post.

Empowering businesses with AI solutions

In his new role, Burnette said he’s excited to leverage his skill set to further the mission of Cre8tive AI. The company, a player in the AI space, says it aims to empower businesses at various stages of their content creation journey. Whether companies are fully operational or just beginning to navigate their AI and content strategies, Cre8tive AI said it’s committed to providing solutions that emphasise speed, intelligence, quality, effectiveness, and cost efficiency.

“Cre8tive AI is about delivering enhanced, smarter business,” Burnette wrote. The company focuses on seamlessly integrating AI capabilities with existing workflows or developing new processes that are both safe and ethical.

The Cre8tive AI team say they are dedicated to using the latest AI tools and coding to create innovative solutions for content and AI agents. Burnette said the company has already begun on several projects that have successfully helped clients bring their creative ideas to life, resulting in significant efficiencies in time and cost while enhancing overall quality and outcomes.

With Cre8tive AI, Burnette envisions a future where AI innovation meets creative brilliance, driving smarter business solutions across the media landscape. This new chapter not only marks a pivotal point in Burnette’s career but also highlights the growing importance of AI in the media industry.

Burnette said he looks forward to collaborating with innovative companies eager to redefine their content strategies and embrace the future of media. For more information about Cre8tive AI and its offerings, visit Cre8tive AI.

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Nine has officially named Matt Stanton as chief executive officer, solidifying his leadership after serving as acting CEO since late last year.

The appointment, announced to the Australian Securities Exchange (ASX) today, marks a strategic step in Nine’s ongoing transformation as it navigates industry challenges and opportunities.

The announcement was made in an email to all staff by Nine Entertainment chair, Catherine West, who wrote that Stanton took on the acting role with a clear mandate to drive change.

“In a short period of time, he has reset Nine’s operating model, refreshed the Executive Team and accelerated the strategic and cultural organisation-wide reform programs underway at Nine,” she said.

West went on to praise Stanton’s leadership, calling it pivotal in addressing key organisational issues highlighted in the Intersection report, ensuring staff voices were heard in shaping a better workplace.

“Along with the Board, he leant in to the Intersection report and importantly, he’s ensured you had a voice on how to improve your workplace. In short, he’s done an outstanding job.

“The Board recognises there’s much more to do, but we are excited about the future for Nine,” she said.

Reset and reshape

In a seperate message to staff, Stanton acknowledged the difficulties facing the industry but reaffirmed his commitment to reshaping Nine to ensure it continues to thrive.

“The external environment for all media companies is tough, and we must continue to reset and reshape Nine to ensure we thrive,” he wrote.

Stanton went on to emphasise the importance of resetting and reshaping Nine’s operations, while recognising that change is not always easy. However, he credited the team’s resilience and willingness to embrace transformation, noting that improvements are already taking shape across the business.

“You have my commitment that I will be working every day to make Nine better for you, as well as our advertisers, audiences, stakeholders and owners – Nine’s shareholders,” he wrote.

While the transformation process continues, he assured the team that it’s “business as usual” for now, with a strong emphasis on execution and engagement.

Pictured: Matt Stanton

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You might not know her name, but there’s a good chance you’ve been inside her head.

Kiri Martin, is the music director at 2DAY FM and the brains behind the station’s recent format change, one she called the “biggest in commercial radio since Nova launched”.

As Southern Cross Austereo (SCA) doubles down on its digital strategy following its TV exit, 2DAY FM’s revamped format represents a key component of its evolving audio portfolio. Martin’s vision is clear: “Sydney’s ready for a change, and we want to give our under 30s what they want.”

The youth-driven shift has been in motion since late last year, beginning when The Jimmy & Nath Show took over the breakfast slot, following the abrupt exit of Hughesy, Ed & Erin.

Crafting a sonic identity

Martin and her team have been diligently working behind the scenes to curate a music format that resonates with Sydney’s youth. “So we were heads down, bums up in the background for the last few months. Plotting and planning the best music format that would go hand in hand with our new look breakfast show and we think we’ve landed on something very special, very different, and something that everybody is going to love,” she said.

The process involved a deep dive into audience preferences and a commitment to supporting Australian artists. “I want to support our Australian artists and give Sydney what’s needed in a new music radio station, that sounds like no other commercial radio station here.”

For Martin, this isn’t just about building a brand – it’s about understanding Sydney’s music culture. “I’m a born and bred Sydney gal. I grew up in Western Sydney, and music has always been a huge part of my life – whether it’s parties, clubs, or concerts.”

The playbook

The strategy hinges on consistency and a keen ear for emerging trends, with Martin explaining that her vision is “to play the hits before they hit.”

The seasoned industry veteran, who has clocked up nearly 16 years at the network, emphasises the importance of providing a platform for Australian artists, aiming to discover the next generation of superstars.

“I’m a big believer in finding that next generation of Aussie superstars to come through. We want the next Amy Shark’s, the Tones and I’s.” Martin said the focus on local talent not only benefits artists but also resonates with listeners who take pride in Australian music. “I know Australians are so proud when they’re listening to a song and find out that it’s another Aussie,” she said. “Giving Sydney those artists is going to benefit both the listeners and the artists themselves.”

The art and science of music selection

The playlist strategy is a balance of data-driven insights and intuition. “There’s a lot of research that goes into this. We test songs on people in our target demo, we’re checking out the Digital Service Providers (DSP), we’re checking out your Shazams – we find that super important, because you can go city specific as well and see what people in Sydney are Shazamming. But sometimes, you have to take a punt to get a song on the playlist in the first place,” Martin explained.

She added: “It can really just come down to a gut feeling because you’ve got to take a punt on those songs to get them on the playlist in the first place.”

But despite her experience, even as the new 2DAY FM format takes shape, Martin is open to evolution: “Sydney’s in good hands, but I’m very open to feedback. The best part about this format is that we can adapt it based on what listeners want.”

Pictured: Kiri Martin

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Too busy to keep up with every meme, every partnership, every trend? ‘From My Feed’ is your shortcut to inspiration from what’s going on in our feeds. Each month, Alexis Whelan, creators and content lead at Kinesso will take us on a deep dive into a trend or moment that kept her attention for longer than six seconds. Think of FMF as your cheat sheet to staying educated, inspired and ahead of the curve – concise, insightful, and always relevant.

Welcome to the first instalment of From My Feed, a look behind the curtains at what has caught my attention for longer than six seconds. I’m Alexis, and I lead a team of experts across influencers and social brand strategy at Kinesso, part of the IPG Mediabrands family.

For March, we are ditching the fleeting trends and diving deep into the power of online communities bringing “offline” moments to our digital world.

I’ve been glued to my couch streaming lately, completely captivated by The White Lotus Season 3. Please don’t even ask me about the theme song yet; I’m still processing… so for those who haven’t seen the show, you’re missing out.. and watch out spoilers are ahead.

It feels that for a while these aren’t just tv shows anymore; they’re cultural conversations that happen everywhere. And the viewing experience doesn’t end when the credits roll. So much so I’m at the point where I fear missing an episode because I’ll see a complete recap before I’ve even had my Tuesday morning coffee.

The sheer volume of user-generated content that floods my feed is mind-blowing. We as fans aren’t passive viewers anymore; we’re active participants dissecting plotlines, crafting theories, creating memes, and essentially extending the life of the show organically and it only continues further in the comment section. This isn’t just buzz; it’s fertile ground for smart brand engagement.

 

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A post shared by twitter memes (@dryscalphoe)

For a real world example, we look back at the man in finance video from last year. We saw brands such as Up, LinkedIn, Mr Clean and Crocs joined in on the conversation and built brand engagement off the back of it.

This behaviour presents a huge opportunity for brands to connect with audiences on a one to one level more than any traditional ad campaign could ever hope to achieve. This is a ready-made audience, primed for engagement, and brands can cleverly weave themselves into the conversation.

But, how?

• Join the conversation – Engage authentically (now… read that again). Respond to fan theories, share user-generated content, and contribute insightful observations. I am talking witty replies, clever memes, or even original branded content that aligns with the show’s themes. BUT as my mum would remind me “If you don’t have anything nice to say, don’t anything at all”. The key is to add value, not interrupt.

• Collaborate with creators: Creator content generates 17x more engagements than owned content according to Digital Voices: The State of Influence 2025 Insights Report, so partner with talent who are already passionate about the moment. Whether that is a show, conversation, a man in finance but only where it feels natural. Authenticity is key; forced partnerships will be spotted a mile away…

• Develop thematically relevant campaigns: Create campaigns that align with what’s being spoken about. This allows brands to tap into the emotional resonance of the moment, this isn’t about selling your brand but reaching new audiences. Niche equals reach. Think about the values and emotions the moment and how your brand can authentically reflect those.

The takeaway?

Play with your brand tone when it comes to these trends and cultivate a keen eye for content and let the communities that organically grow around it. It’s an additional and effective way to build brand loyalty and drive genuine engagement.

But remember, it’s about becoming a part of the conversation, not trying to trend-jack it.  

Top image: Alexis Whelan

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NAB has teamed up with TBWA\Melbourne and Mindshare to launch its latest AFL sponsorship campaign to capture the essence of togetherness through a shared love of footy.

The new campaign, which includes a TVC, social and OOH assets, is a response to the current social environment.

The Scanlon Report, Australia’s longest-running social cohesion survey, revealed, “Our society is experiencing an ever-deepening sense of exclusion and division amongst the community” indicating a compelling observation into the power of sport in Australia.

TBWA’s Backslash Future of Fandom report highlighted “One of the fundamental motives behind sports fandom is the human need for belonging and social identity.” As a national sport, AFL in Australia delivers just that to communities by giving people the opportunity to come together through their love of the game.

The hero 30” spot follows young NAB AFL Auskicker Tully as she scores her first goal, which draws in everyone from neighbours and dog walkers to AFLW star Katie Brennan. It wraps up with an epic overhead shot reminiscent of Buddy Franklin’s famous 1000th goal moment, with the united crowd, including Buddy himself, cheering on Tully’s big moment.

“At NAB, we have been supporting every goal, from AFL Auskick to the big time, for more than 20 years,” Natalie Lockwood, NAB CMO.

“Footy has an incredible way of uniting us and that really comes to life when we all celebrate a goal, a win or major achievement. Not only do we love celebrating on-field goals, we support our customers to achieve their off-field goals every single day, whether that’s buying a home, saving for a dream holiday or starting a new business.

“The campaign captures this spirit in the story of Tully’s journey to kick her first goal, and how the community comes together to celebrate that achievement.”

Matt Stoddart, executive creative director, TBWA\Melbourne, said: “It’s a beautiful thing across all levels of footy when a player kicks their first goal and everyone gets around them. Sometimes even players from the other team. This story of a young Auskicker brings that moment to life in a way that isn’t exaggerated at all.”

This national campaign will kick off round one of the 2025 footy season rolling out across TV, OLV, OOH, social, display and owned.

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Taubmans has appointed independent agency Sunday Gravy to oversee its creative.

The brand was founded by Australian signwriter George Henry Taubman in 1897, and is made locally. Taubmans has partnered with Sunday Gravy to turn it into the brand Aussies turn to for all paint projects and so more painters, both DIY and professional, better understand the quality and technical expertise in every tin of Taubman’s paint.

“From day one, Sunday Gravy demonstrated a highly collaborative approach, impressive strategic insight, and ambition for creative excellence,” Sharon Winton, PPG head of marketing and sales strategy ANZ, said.

“Their talented and passionate team has us excited about the impact we can achieve together in a category ripe for a fresh perspective,” she added.

Anna Camuglia, general manager of Sunday Gravy, said: “From the first conversation we uncovered our mutual intentions of seeking a deep partnership to drive significant brand outcomes. We are looking forward to creating work that painters can see themselves in. No fluff, no gimmicks—just unexpected ideas with undeniable impact.”

The past several months have been successful for Sunday Gravy with work out in market including the DiDi’s tow service over the festive season and the Service Still Matters brand platform for technology business Square.

Last month, the creative agency was appointed as the independent creative and PR agency for toilet brand Sorbent as it plans to expand its reach with Australian consumers.

Victoria Panayiotou, marketing manager, Sorbent said at the time: “We see in Sunday Gravy the perfect partner to elevate our brand in a way that’s both creatively fresh and true to our longstanding commitment to delivering an emotionally led story around our key strengths.”

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ACCIONA and DDB Melbourne have teamed up to launch the first product from ‘Turbine Made’, a surfboard co-designed and developed in collaboration with renowned Aussie pro surfer Josh Kerr and his team at Draft Surf.

Turbine Made is an initiative transforms retired turbine blades into new materials and products, saving the blades from landfill.

The project, which was unveiled and broadcast on Seven Network’s Sunrise, has already gained cultural traction across the globe with features on publications such as swellnet and SURFER Magazine.

ACCIONA created the surfboard by taking retired fibreglass turbine blade and transformed it into the ‘Turbine Made’ particulate. The team at Draft Surf then used bespoke processing techniques to integrate the particulate into a range of beautifully crafted, high performance surfboards.

“Surfers have an unbreakable bond with the environment, so creating a board from recycled turbine blades helps inspire the next generation of environmentalists,” Giles Watson, DDB Group Melbourne executive creative director, said.

“Beyond being bloody cool, this project proves that sustainability and performance can go hand in hand—opening the door for a wave of new possibilities with Turbine Made.”

Caroline Pinter, general manager brand and marketing, ACCIONA said of the collaboration: “ACCIONA has long been connected to the surfing community. At our first wind farm in Navarra, Spain, local surfboard shapers helped repair turbine blades because of their expertise in fiberglass. This surfboard continues that shared history and reinforces our commitment to making the circular economy a reality.”

ACCIONA’s Cathedral Rocks Wind Farm provided the perfect backdrop for the first test flight of the ‘Whatever Surfboard’.

Kerr said of the board: “The conditions at Cathedral Rocks pushed the surfboards to their limits and they held up beautifully and performed great. The Turbine Made particulate is extremely durable and lightweight, making it ideal to use in our performance surfboards.”

The surfboard is just the beginning of an ongoing initiative that will see hundreds of businesses and individuals make their products more sustainable by using the recycled wind turbine material.

Media, influencers and the public were able to try the ‘Turbine Made’ surfboard in action for themselves at an event held at URBNSURF in Sydney last week, and is supported via an integrated campaign and a range of apparel featuring key art created by renowned illustrator Jake Foreman.

ACCIONA is currently seeking new partnerships to develop the next range of Turbine Made products.

Creative Credits:

Client: ACCIONA Energía
Agency: DDB Group Melbourne
PR: Mango Communications
Illustrator: Jake Foreman (Jacky Winter)
Production: DDB’s Maker Studios & Eyre films
Photographer: Hayden Richards
Sound: Bang Bang

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Melbourne’s culinary stage is set, not for tasting menus, but for the hard-hitting discourse shaping the future of Australian agribusiness. Today marks the 13th iteration of The Australian’s Global Food Forum, a powerhouse event, fuelled by partnership with Visy and fortified by the global perspective of the Wall Street Journal.

Looking ahead

This year, the forum pivots its gaze towards the horizon, adopting the compelling theme “Towards 2050.” It’s a strategic move, positioning the event as a crucible for dissecting the evolving landscape of food production, investment, and technological disruption.

The forum  is promising to offer a unique lens into the shifting currents of a vital sector. Expect discussions that delve into:

Investment frontiers: Where are the new capital flows heading? What are the emerging opportunities for brands and agencies navigating this dynamic space?

Innovation showcase: The forum will spotlight the cutting-edge ag technologies set to redefine food production and supply chains. How can advertisers leverage these advancements to connect with increasingly tech-savvy consumers?

Sustainability imperative: With sustainability becoming a non-negotiable for consumers, the forum will explore how agribusiness is adapting. What are the evolving narratives and advertising opportunities for brands embracing eco-conscious practices?

Diversification strategies: As global markets shift, the forum will examine how Australian agribusiness is diversifying its offerings. What are the implications for product development and targeted advertising campaigns?

The next generation: Crucially, the forum will address the role of young farmers in securing Australia’s food future. How can brands and agencies engage with this vital demographic and their evolving consumption patterns?

Combating challenges

The Australian’s editor-in-chief Michelle Gunn said the purpose of the Global Food Forum was to highlight the crucial challenges and immense potential of Australia’s $150 billion agribusiness and food sector.

“Today the Forum will hear from leading experts, engage in stimulating discussions, and forge connections that will help shape the future of food security, sustainability, and agribusiness,” Gunn said. “The road ahead requires bold action, cutting-edge innovation, and collaboration across industries, governments, and communities.

“The Australian is committed to providing a platform to embrace this challenge with determination, to ensure a future where everyone has access to safe, nutritious, and sustainably produced food.”

Featured guests

This year’s event will feature Minister for Trade and Tourism, Don Farrell, Visy Executive Chairman, Anthony Pratt, Coles group chief executive, Leah Weckert, GrainCorp managing director and chief executive officer, Robert Spurway, United States Studies Centre senior economics adviser, Dr John Kunkel, and chef, restaurateur and farmer Matt Moran.

Along with some of The Australian’s most senior editorial staff including, Claire Harvey, Damon Kitney, Eli Greenblat, Eric Johnston, Perry Williams and Vesna Poljak, and The Weekly Times’ James Wagstaff.

Shifting dynamics

From private equity and super funds snapping up farmland to the evolution of both corporate and family-run agribusinesses, the Global Food Forum will explore the shifting dynamics of the sector. Industry leaders will unpack global food trends and the latest in sustainable farming practices, offering insights into how agriculture is adapting to a rapidly changing world.

Food security will take centre stage, with discussions on how cutting-edge technologies and innovation can streamline supply chains, reduce agriculture’s carbon footprint, and create fresh opportunities in international trade.

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The podcast landscape is heating up with the arrival of High Steaks, a new offering from Gen Z publisher Centennial World, promising a deep dive into the captivating world of celebrity feuds.

This 12-episode series, hosted by Sydney-based journalists Laura Masia and Madison Bogisch, positions itself as a prime destination for audiences hungry for tales of “famous feuds, frenemies, and falling outs” that have shaped contemporary culture.

Bogisch says the podcast taps into the universal fascination with famous fallouts, calling the feuds “messy and often relatable” because, at the end of the day, “celebrities are just like us.” Masia, an entertainment reporter, jokingly refers to herself as a “professional gossip” and is thrilled to channel her passion for industry tidbits, rumours, and petty squabbles into a podcast that resonates with fellow pop culture enthusiasts.

Capitalising on cultural currency

High Steaks is hoping to tap into the undeniable allure of celebrity conflict, a perennial driver of audience engagement. From the digital trenches of podcasting it-girl drama to the spectacle of billionaire rivalries, the series offers a diverse menu of content designed to capture attention.

This focus on high-profile disputes presents a unique opportunity for advertisers to align their brands with culturally relevant conversations, leveraging the inherent intrigue of these stories to connect with engaged listeners.

Centennial World’s network play

The launch of High Steaks marks the official debut of the Centennial World Podcast Network, expanding the publisher’s existing audio offerings, which include infinite scroll, mini scroll, and mini tech scroll. This strategic move consolidates Centennial World’s audio content under a unified brand, creating a more cohesive and attractive platform for advertisers. By offering a diverse range of podcasts, the network provides advertisers with access to a wider audience and greater flexibility in targeting specific demographics and interests.

Centennial World Founder Lauren Meisner said: “We’re thrilled to welcome High Steaks into the Centennial World fold. Last year we saw 450% audience growth across our existing podcasts, so the timing felt right to expand the business and launch our network.

“As a chatty show between two pop culture-obsessed friends, High Steaks will complement our existing video essays and internet culture news podcasts while feeding into Gen Z’s penchant for nostalgia.”

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Total People TV Ratings

Nine’s Married at First Sight recorded a total TV national reach of 2,840,000 a total TV national audience of 1,766,000 and a BVOD audience of 505,000.

Seven’s Seven News recorded a total TV national reach of 2,035,000 a total TV national audience of 1,288,000 and a BVOD audience of 84,000.

Nine’s 9News recorded a total TV national reach of 1,999,000 a total TV national audience of 1,189,000 and a BVOD audience of 117,000.

Also on Nine, A Current Affair recorded a total TV national reach of 1,744,000 a total TV national audience of 1,085,000 and a BVOD audience of 126,000.

While Nine’s Big Miracles recorded a total TV national reach of 1,651,000 a total TV national audience of 556,000 and a BVOD audience of 100,000.

People 25-54

Nine’s Married at First Sight:
• Total TV nation reach: 1,215,000
• National Audience: 823,000
• BVOD Audience: 318,000

Nine’s Big Miracles:
• Total TV nation reach: 714,000
• National Audience: 228,000
• BVOD Audience: 60,000

Nine’s 9News:
• Total TV nation reach: 595,000
• National Audience: 320,000
• BVOD Audience: 61,000

Nine’s A Current Affair:
• Total TV nation reach: 589,000
• National Audience: 322,000
• BVOD Audience: 71,000

Seven’s Seven News:
• Total TV nation reach: 512,000
• National Audience: 306,000
• BVOD Audience: 42,000

People 16-39

Nine’s Married at First Sight:
• Total TV nation reach: 626,000
• National Audience: 435,000
• BVOD Audience: 225,000

Nine’s Big Miracles:
• Total TV nation reach: 338,000
• National Audience: 101,000
• BVOD Audience: 37,000

Nine’s A Current Affair:
• Total TV nation reach: 260,000
• National Audience: 127,000
• BVOD Audience: 41,000

Nine’s 9News:
• Total TV nation reach: 230,000
• National Audience: 116,000
• BVOD Audience: 31,000

Seven’s Seven News:
• Total TV nation reach: 193,000
• National Audience: 97,000
• BVOD Audience: 22,000

Grocery Shoppers 18+ TV Ratings

Nine’s Married at First Sight:
• Total TV nation reach: 2,219,000
• National Audience: 1,389,000
• BVOD Audience: 403,000

Seven’s Seven News:
• Total TV nation reach: 1,614,000
• National Audience: 1,025,000
• BVOD Audience: 68,000

Nine’s 9News:
• Total TV nation reach: 1,591,000
• National Audience: 957,000
• BVOD Audience: 95,000

Nine’s A Current Affair:
• Total TV nation reach: 1,376,000
• National Audience: 867,000
• BVOD Audience: 102,000

Nine’s Big Miracles:
• Total TV nation reach: 1,307,000
• National Audience: 443,000
• BVOD Audience: 81,000

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.

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