The second SXSW Sydney is less than four weeks away. For TEG head of commercial Simon Cahill it means much of the heavy lifting is over.

Cahill told Mediaweek that after a successful first-year event 12 months ago, work on re-signing partners and finding new ones started as soon as SXSW 2023 wrapped.

His role has slightly changed at TEG for the 2024 event. Previously head of commercial and marketing, Cahill now has a focus on the commercial outcomes. But not just SXSW, Cahill also looks after all TEG activity from touring to sport, experiences and theatre. But he admitted, “My passion, my love is for SXSW.”

Working on year two was certainly less daunting than organising the first event, he said. “You know what it is that you’re building. Last year we had this line that we stuck to. It was – South By is Disneyland for creatives and the activations are the rides.

“Although we kind of knew what that was, we then had to execute it in real life and make sure that the brands that were coming on that journey understood that vision as well.

“We did a really good job of making it fun and exciting. Prime Video had 30,000 people go through their doors in the first year. That was the number one most-attended activation that we had on site.”

See also: Nick Kyrgios, Devika Bulchandani and Lucy Lawless: SXSW Sydney unveils new round of speakers, sessions and networking opportunities

Simon Cahill

Ad industry support key to SXSW success

Of all the people attending, the advertising industry visited in the greatest numbers. TEG data indicates that sector made up 15% of attendees at SXSW Sydney.

Cahill and the TEG challenge for visitors this year: “In year two it’s like, how do we make this better? Year two has been really about making it more fun, more exciting.”

TEG revealed to Mediaweek that year two will provide a batter commercial return on their investment. With that comes a number of changes to the experience that was 2023.

“What we’ve done is we listened to everybody from last year. I’ve been to SXSW [in Austin] four times. And you do a lot of walking in Austin. But what we heard from everybody in Australia was they didn’t want to do as much walking. They wanted to be more central, more about the ICC. What we did is make the Tumbalong Park area bigger for activations.

“We’ve got ComBank coming back who are our first super sponsor and they’re activating in the park and they’re focusing on security. All.com, which is a Accor, are going to be doing an activation there as well. MailChimp are going to bring to life CRM. They’ve got an incredible activation, which is fun, engaging and interactive.”

The entrance to Tumbalong Park last year

Activations: ‘Last year, fun won’

Cahill: “The big one from last year was that people were a little bit serious and they need to be a little bit more fun. We know that last year fun won!”

Leading the fun activations last year was Suntory. Cahill noted they really nailed it with their lemons in the park and their giant vending machine.

“When we were looking at our word cloud of social media on day one and two, the top trending thing was Suntory.

“As much as people are there to learn about the future and AI and everything else that’s going on, they want to have some fun. And when people can showcase fun, it really comes to life well. So, Suntory are back once again and they’ll bring the fun.

“They’re going to bring back their new vending machine, which is awesome.”

“Also Defender, Jaguar, Land Rover are back. Last year they had an incredible activation a little bit off site in Machine Hall. This year they’re going to be activating in the park.

“From the media side, we’ve got our friends at ARN. They’re going to be activating the park, but they’re also doing the podcast stage as well which fits beautifully into their iHeart network.”

See also: SXSW Sydney 2024 reveals Tumbalong Park public program

Day and night districts

Cahill said they also have a little bit of Hollywood magic. “We’ve got Margot Robbie’s gin brand, Papa Salt. We did ask if Margot would come, but no such luck at this stage.

“Also from the media brand side of town, we’ve got our friends at the Growth Distillery and they’re going to be doing the Ideas Dome.”

For the conference this year, Cahill said the focus is very much on business during the day at the ICC.

“We have made the nighttime district around Chippendale and Broadway. We’ve got all our music and games all happening there as well as some screen activity.

“There are really night and day districts.”

For brands who have been thinking about an investment in SXSW Cahill had a tip. Start planning now. Booking activations ended about four months ago. “We have to lock them down no later than May.

“If you want to have an activation, we are really starting those conversations straight after the event to be honest. Positioning within the park is an important conversation.”

One new arrival this year is Chinese EV maker Zeekr.

“They’ve launched in the market,” said Cahill. “They’re owned by Geely, which is the parent company to Volvo.

“They’re going to showcase the car at SXSW. You can actually test drive the car at the event.”

We can’t reveal where this test drive track is because it would be a major spoiler. But being able to boast you’ve driven an EV around this part of Sydney will been a big attraction this year.

Snapchat House in 2023

Partners range from Prime Video, to WPP and Clear Hayes

Returning partners this year also include Prime Video which is taking over Fratelli Fresh again.

“Brand USA are also back, and they’re taking over the Pumphouse and they are ramping up the flavuors of all the different states that they represent. Last year there was an awesome Texas day. They will be doing to be doing all those good things again.”

Agency involvement ranges from giant WPP Group to boutique Sydney experts at marketing to marketers, Clear Hayes.

As to how ticket sales are trending for year two, Cahill said: “It’s on a similar pattern to last year and looks very strong at this point.” There is again strong interest from outside of Sydney too – from other parts of Australia and internationally. There will be a strong New Zealand presence this year.

Mamamia impressed media buyers at its 2025 upfront presentation at Ovolo in Woolloomooloo on Tuesday.

The media company has carved its niche as a trusted and respected source of news, entertainment and inspiration for women over the years, reaching an impressive 7.5 million women in July 2025.

Looking to the year ahead, its offerings include data and research tools and four new categories in the new year: work, birth, divorce and women’s health.

From left to right: Mia Freedman, Danni Wright, Maddy Lawler, Nat Harvey, Jessica Anderson, Zara Curtis

Zara Curtis, chief content officer at Mamamia, told attendees: “Mamamia moves at the speed of women. We meet her where she’s at and adapt our content slate in real time to address her needs, her mood, and the zeitgeist,” said Zara Curtis, chief content officer at Mamamia.

“Our superpower is to make entertaining content about any topic: no matter how dry or serious – we call it “edu-tainment”. That’s why Mamamia reaches 7.5 million women each month and why brands want to work with us; we’re the most-trusted women’s brand in Australia.”

Mediaweek caught up with media buyers who attended the event to get their thoughts on offerings and what piqued their interest.

Nicole Barnes

Nicola Barnes, group investment director, iProspect, a dentsu company, said Mamamia is investing in both new content and talent, particularly in podcasts where they delve into underserved topics highly relevant to their audience.
 
She highlighted the media brand’s focus on creating content “at the speed of culture” and driving deep and meaningful conversations.

“This is important for many of our clients who want to align with cultural moments and recognises that culture is more than just a TVC during a live sports game; it’s about real-world experiences and societal trends.

“We know this approach can lead to powerful emotional responses, enabling our clients and their brands to align with these moments in a trusted environment.”

Barnes called Mamamia’s expansion into Vodcasts a “move toward a broader approach, offering exciting opportunities for our clients.”
 
“This format engages multiple senses, creating a more immersive advertising experience, particularly beneficial for our more visually-oriented brands.”

 
She noted the media brand’s discussion of its proprietary tool, the Daily Dial, and Mamamia DNA to shape content with both qualitative and quantitative insights as “critical to brief responses.”
 
“As we know, relevant content attracts leaned audiences, boosting engagement and enhancing storytelling opportunities.”
 
Barnes said: “Mamamia holds itself in a unique position, with extensive audience data, a trusted brand and an array of advertising opportunities.
 
“I would have liked to hear more on how they measure and demonstrate the value of this data and consumer base, as this is increasingly an area we are challenged on to ensure our campaigns are going to deliver a strong ROI.”
 
For Barnes, her key takeout was Mamamia’s rapid advancements. She said: “They unveiled their new brand, ‘Know,’ designed specifically for Gen Z. This emphasises their dedication to understanding the unique traits and digital behaviours of this influential demographic.
 
“It also presents opportunities for our clients to craft customised, targeted content that resonates with this hard-to-reach audience, and we are keen to hear more about it and, of course, brush up on our Gen Z knowledge!”

Sebastian Diaz

Sebastian Diaz, head of media innovation at Bench Media, said Mamamia’s strategy for the year ahead centred on capturing moments and expanding its loyal audience.

For advertisers and brands, he noted that this means offering bigger, broader, and deeper ways to unlock new opportunities and tools to connect more effectively, drive engagement, and stay ahead in a dynamic media landscape.

“With fresh shows, new ecosystems, and innovative tools, Mamamia is giving brands access to a powerhouse of content that speaks directly to its key audiences – as well as expanding to the lucrative Gen Z market with new ad buying opportunities,” he said.

This was evident for Dias in Mamamia’s three new podcast offerings—Biz, Diary of a Birth, and Once Upon A Divorce

“These shows dive into pivotal life stages for women, giving brands a chance to connect with listeners in deeply personal and relevant ways.

“Key purchasing decisions are often made when people go through big lifestyle and life-stage changes – so content surrounding career challenges, new motherhood, or life after divorce, means Mamamia’s content will resonate. For brands, this means more meaningful engagement with an audience that feels seen and understood.”

Diaz noted that Mamamia’s expansion into vodcasts is not just a shift in format—but a new opportunity for brands to visually connect with an audience already invested in their podcasts.

“The addition of video elevates engagement, offering a richer, more immersive experience. Brands can integrate into these vodcasts in a way that feels natural, building trust and connection with viewers who want more than just an audio experience.”

Natalie Harvey

On the data and tech side, Diaz said The Daily Dial tool combines nearly two-decades of what Mamamia does best, with qualitative research from one-to-one interviews with women, dark social post insights and expensive qualitative data.

“This means brands can plan campaigns that do more than just reach women online —they can engage on a far deeper level. The State of Women annual report further enhances this, providing real-time insights into female consumption habits in 2025, further helping media planning decisions,” he said.

Diaz noted that the launch of Know addresses the seismic shift of under 28s media consumption and helps brands looking to reach Gen Z, who no longer consumer free to air TV.

“Knows social-first lifestyle media brand meets this audience where they live—on social platforms, in their own language, outside the traditional news cycle. This is a crucial opportunity for agencies to break through to a fragmented, elusive audience, and achieve incremental reach, with content that resonates deeply.”

Diaz also highlighted Mamamia’s use of AI to translate their podcasts and content into new languages 2025.

“This allows agencies to target non-English-speaking households, which makes up nearly a 22% of Australian demography, and is a north star in a publisher market that is still severely under indexing on non-English titles and marketing opportunities.”

KICPOD extends partnership with LiSTNR

Hosted by Laura Henshaw and Steph Claire Smith, KICPOD has extended it’s partnership with LiSTNR.

Launched five years ago, KICPOD is known for its deep and meaningful conversations on wellness, mental health, and life’s challenges, KICPOD offers listeners a relatable and engaging discussion on the topics that matter most.

Henshaw and Smith said of the announcement: “We are thrilled to have signed on again with the incredible team at LiSTNR. What we have been able to achieve together over the last few years has been amazing, and we’re excited for what’s ahead!”

LiSTNR original podcasts head of entertainment and culture, Sam Cavanagh, commented on the extension: “Steph and Laura are industry leaders in building community. Their KICPOD podcast is a 2-way conversation with their audience and exemplifies the power and intimacy of podcasting. We are excited to support their ongoing success and look forward to exploring new opportunities together for years to come.”

Karmic lessons and laughs with new SBS podcast ‘Comedy Karma’

Laugh with some of the most exciting South Asian comics in Australia as they talk about jokes, race, culture, accents and more in SBS Audio’s new podcast – Comedy Karma.

Podcast host Aditya Gautam – an author, screenwriter and stand-up comedian originally from Delhi and now a proud Melbournian – invites those who make a living from making others laugh to spill the chai on the challenges of being a South Asian comedian and finding a sense of identity in a diverse Australia.

Aditya talks candidly about his own experiences, including becoming an Australian citizen and acknowledging his own privilege as a straight, middle-class man while drawing out the experiences of guests who, for example, identify as a “minority within a minority” including LGBTIQ+ people from South Asia.

“These are the funniest South Asian comedians in Australia, taking you into the world of being a funny, brown person and everything about identity, culture and comedy they have learned along the way,” he said.

Comedy Karma runs the gamut of South Asian diversity across Bangladeshi, Indian, Nepali, Pakistani and Sri Lankan cultures, exploring identity in a diverse Australia in 10 episodes.

[Listen here]

Audible gets intimate for season two of Sex Therapy: Sessions with Chantelle Otten via Emotive

Audible has announced immersive brand experiences in Sydney and Melbourne to celebrate the launch of season two of the Original series, Sex Therapy: Sessions with Chantelle Otten – Unlocking Intimacy.

Independent creative agency Emotive has crafted a unique experience featuring the podcast’s host and sex therapist, Chantelle Otten.

Attendees who secure a spot at one of the exclusive Intimacy, Served soirées will embark on a journey of self-discovery, where candid discussions about sex and intimacy are literally on the table.

Teaming up with White Horse in Sydney and Chancery Lane in Melbourne, dinner guests will not only be served delicious food and drink but also provocative questions inspired by Otten’s real conversations with anonymised patients in the podcast.

These conversation starters are woven into the experience through audio, tableware and even in the food itself. Otten’s therapy sessions also inspired the creation of a deck of conversation cards, to be gifted to event attendees, to help them unlock a new level of intimacy at home.

The game contains questions including ‘is monogamy enough?’ and ‘do you prioritise your own pleasure with a partner?’

[Read more]

David Hallberg appears on episode 3 of The Black T-Shirts Podcast with Adam Ferrier and Brent Smart

This week the duo is joined by David Hallberg, artistic director of The Australian Ballet. David, or Davo to his mates, was one of the world’s most renowned dancers, having been a principal dancer with both the American Ballet Theatre and the Bolshoi Ballet, before becoming artistic director of The Australian Ballet.

In this episode, Hallberg discusses what it takes to have creative ideas and live a creatively fulfilling existence in the world of ballet. He also speaks to his latest project, Oscar, a ballet inspired by the life and writings of Oscar Wilde. Premiering this week to rave reviews, the production was praised for its portrayal of non-heteronormative themes.

[Listen here]

Podshape has this week launched a new podcast series. Deep Fake explores how cutting-edge AI technology is being used to deceive and scam people across the globe.

One major story from January 2024 follows a finance worker in Hong Kong who unknowingly transferred over $40 million AUD to fraudsters, after being tricked by a deepfake video of his boss. This shocking scam reveals how AI is blurring the line between reality and deception, with even global companies falling victim.

Upcoming episodes of Deep Fake also ask: Just how easy is it to create a deepfake? With expert insights from Dr. Adrian McCullagh, Ph.D., the show explores the legal ramifications and how AI might rewrite history. Cybercrime investigator Ken Gamble breaks down the Arup scam and how deepfakes are used for serious financial crimes.

The podcast also highlights the disturbing rise of deepfake pornography in Australia, with advocate Noelle Martin sharing her personal fight to change the laws around digital safety and protect victims.

The Deep Fake podcast is available on all major podcast platforms.

It’s also available on Apple Podcast subscriptions where you can get episodes ad free and early.

Listen on Spotify here.
Listen on Apple here.

Just last month Podshape released Who’s to Blame? – a new seven-part podcast series delving into the youth crime crisis in Queensland and across Australia.

The series is published by Podshape, the Brisbane-based creator of many true-crime podcasts. The podcast business was launched four years ago by former Nova Entertainment employees Jay Walkerden and Katie Mattin.

As communities ask who’s to blame?, the podcast offers a multifaceted exploration of the issue, from the perspectives of victims, perpetrators, and experts.

To better understand the roots of youth crime, the podcast also features candid conversations with reformed youth offenders. These first-hand accounts provide insights into the factors that drive young people to commit crimes, shedding light on the social, economic, and psychological triggers that contribute to their actions.

See also: Jay Walkerden on new podcast series Who’s to Blame?

The advertising industry and academics have teamed up for a White Paper marking 50 years of advertising education in Australia.

The State of the Australian Advertising Industry and the Role of Education draws from secondary and primary research, as well as the insight of the industry’s top leaders, and provides an important benchmark for the industry and advertising education as well as developing several predictions.

Adam Ferrier, chief thinker, Thinkerbell, Gai Le Roy, CEO of IAB Australia and Leigh Terry, APAC CEO of IPG Mediabrands, shared their industry insights and experience.

While in the academics, Gayle Kerr, professor in Advertising and IMC, QUT, David Waller A/Prof UTS Business School and Steven Bellman, MediaScience research professor, Ehrenberg-Bass Institute for Marketing Science, share their knowledge outlooks. 

Ferrier said: “Advertising has a profound impact on our culture, reflecting our dreams and aspirations. We shouldn’t be leaving the advertising we get to chance. It’s vital that we are constantly studying how it works, getting educated on how to make it better and being curious about its impact.”

The researchers drew from secondary research and conducted new primary research to examine the current state, and imagine the future, of the advertising industry and the role of advertising education.

For example, using Australian Census data to map growth since 2011, and project into the future to 2036, the paper predicts advertising employment from the Professional Services industries should continue to grow at an average of 28% per year.

Focusing on education, text-mining software is used to visualize the key themes of university education and show a direct connection between the strategy of the university and its evolution into units and areas of study like marketing and advertising. These require skills and integration to be effective.

Terry concurred and said: “Recognising the crucial role of advertising education in this country over the last 50 years is important. Not just its role in the helping drive the wider economy, but creating and celebrating Australian culture, and finally highlighting social campaigns that don’t have a voice. 50 years of helping the industry create work that works and work that matters.”

The White Paper also included insights from interviews with industry leaders and soon-to-graduate advertising students. It suggests that perhaps, we have all become “paid, owned and earned mediated communicators with an identifiable brand.”

The paper concludes that “Advertising has lost its USP. No one knows what advertising is any more. Yet increasingly, they spend their days doing advertising-like tasks.”

Le Roy added: “Defining ‘what is advertising’ continues to be a fascinating almost philosophical challenge but we do know that the more the market evolves the need for top quality education will remain.”

The White Paper provides an important benchmark and develops a number of predictions for the industry and advertising education.

Kerr, a Professor in Advertising and IMC at QUT, said: “The catalyst for the White Paper was our celebration of 50 Years of Advertising Education in Australia. We thought it would be good to know if there would be something to celebrate in another 50 years’ time.”

“While there was a lot of research involved, just as important was the learning from each other. Brainstorming what the research really meant. How it applied to the advertising industry. And how we should align our advertising university programs to ensure the continuance of a wonderful profession.”

Waller from UTS added: “This is a unique document that brings together leaders in the advertising industry and academic education to discuss past, current and future ideas to present valuable insights and predictions for advertising education for the years to come. I expect that this is not the end of the industry/education conversation on the future of advertising but just the beginning.”

Avid Collective has unveiled Avid PubSuite – its new market-first end-to-end platform for branded content campaigns, now launching in Australia and the UK.

The new platform, which has been custom-built for the digital publishing industry, will reduce publishing time and drive revenue growth. 

Avid PubSuite offers a range of tools, customised for different stages of the campaign process, from pre-sales advertiser engagement through to post- campaign reporting, which can be independently leveraged or used as a connected ecosystem.

It has been designed to help solve the limitations of branded content channels, particularly the lack of standardisation and buying accessibility for agencies and advertisers, as well as the resource-heavy demands of campaign management.

Avid PubSuite will be headed up by long-time Avid senior executive, Chloe Patterson, who has been appointed the new head of publisher SaaS.

Under her new remit, Patterson will oversee the entire Publisher SaaS business unit, while also creating and delivering the go-to-market strategy for the platform’s launch in Australia and the UK.

Luke Spano, managing director at Avid Collective, said: “We are delighted to officially unveil Avid PubSuite. Releasing a market-first platform for branded content is critical to solving the current limitations of the channel. As a business, we hope that by solving these limitations, we can significantly reduce the costs of running branded content campaigns for publishers, increase the investment in the channel and improve the experience of running campaigns for all parties involved.”

Commenting on Patterson’s promotion, Ezechiel Ritchie, general manager at Avid Collective, said: “Chloe’s impressive background in digital media and breadth of experience in publishing make her the perfect person to lead our Publisher SaaS business. Her expertise and deep understanding of the publishing landscape will enable us to support our publisher partners, deliver the growth they are after, and provide a better experience for advertisers, publishers and audiences. We’re very excited to see the impact she will make.”

Patterson said: “It’s an honour to be part of the launch of the world-leading Avid PubSuite. Having worked in the publishing industry for most of my career, I have a deep understanding of the value Avid PubSuite will bring to advertisers and publishers. It is truly a game-changer for the branded content space, and I look forward to ensuring its successful implementation in both Australia and the UK.”

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Top image: Chloe Patterson

By David Castle, general manager of SEO at Resolution Digital

During Google’s annual I/O 2024 event on May 14th, a significant announcement was made that would reshape the future of search: the rollout of AI Overviews (AIO) across the U.S. market. Initially introduced to a select group of users through Google Labs, AIO is now available to all logged-in U.S. users, with plans to expand globally as the year progresses.

A recent study by BrightEdge highlighted the widespread deployment of AI Overviews, revealing that this feature is now visible to all logged-in users, regardless of their participation in the Google Labs testing phase. However, it’s important to note that AIO is not displayed to users who are logged out, making the user’s logged-in status a critical factor in experiencing this new feature.

From SGE to AIO: A Shift in Search Dynamics

The transition from Search Generative Experience (SGE) to AI Overviews marks a notable shift in how Google presents information in search results. One of the most significant changes is the reduction in the number of queries triggering AI-expanded results by default. According to BrightEdge’s findings, the proportion of queries showing AI-expanded results dropped from 84% under SGE to just 15% with AIO. However, when considering the non-expanded (collapsed) AI responses, the prevalence of AI in search results remains as strong as before.

This shift indicates that Google is becoming more selective and precise about when to deploy AI-generated responses. Google’s own blogs describe Generative AI in search as a tool to “let Google do the searching for you,” which suggests that AI Overviews are designed to enhance user experience by providing the most relevant information with minimal effort on the user’s part.

Smaller, Yet More Impactful: The Evolution of AI in SERPs

Another key change brought by AIO is the reduction in the size of the AI-generated responses. Compared to the initial SGE tests, where the AI response occupied a significant portion of the search results page (roughly 900px), AIO responses are now 30% smaller on average. This is welcome news for brands who rely on organic search performance, as it reduces the amount of SERP real estate taken up by AI responses, allowing more visibility for organic results.

A major concern during the SGE phase was the lack of correlation between the AI-generated links and the top-ranking organic results. Studies indicated that a staggering 93% of SGE links originated from sources outside the top-ranking organic domains, with only 4.5% of SGE links directly matching URLs that appeared on page one of the organic results.

This disconnect posed a challenge for brands without a robust content strategy, as success in traditional SEO didn’t guarantee visibility in AI-generated responses.

AIO Brings SEO Back to the Forefront

However, more recent studies, including those by seoClarity, suggest a significant shift in how AIO selects and features content. As of August 23rd, 2024, research shows that AIO links now align much more closely with top-ranking organic results. Specifically, 80% of the time, one or more links in the AI response match a top-three ranking organic result. 50% of the time AIO links to the top organic position.

This development is a game-changer. The implication is clear: to be featured in AIO, your best strategy is ‘simply’ to rank high in Google’s organic search results.

In other words, optimizing for AIO has essentially become synonymous with optimizing for traditional SERPs. SEO is now more important than ever, as high organic rankings have a direct influence on visibility within AI Overviews.

Conclusion: Adapting to the New Normal in Search

The introduction of AI Overviews represents a significant evolution in how search engines deliver information to users. For brands and SEOs, the key takeaway is that traditional SEO practices remain crucial. Achieving top organic rankings not only boosts your visibility in traditional search results but now also increases your chance of being featured in Google’s AI Overviews.

As we move forward, it’s essential to stay informed about these changes and continue refining your SEO strategies to align with the latest developments in search technology. By doing so, you can ensure that your content remains visible and relevant in both traditional SERPs and the new AI-driven landscape.

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Top image: David Castle

TEG has revealed a record-breaking achievement for the Australian and New Zealand tour of Jurassic World by Brickman. It has become the most attended exhibition ever at Queensland Museum. Over a quarter of a million people passed through its gates.

Brickman is one of the hosts alongside Hamish Blake on Nine’s Lego Masters TV series.

The immersive adventure brings to life the blockbuster franchise from Universal Pictures and Amblin Entertainment and was the largest LEGO Brick exhibition ever made by The Brickman Team. The skilled LEGO brick model builders and craftspeople brought the exhibition to Australia and New Zealand, which saw over 1 million people come to check out the action.

In addition, The Brickman’s Wonders of the World exhibition, also holds a spot in the top five attended exhibitions at Queensland Museum.

TEG Group CEO Geoff Jones said: “TEG is delighted with the attendance figures we managed to achieve for Jurassic World by Brickman. This was no easy feat and shows the current appetite for family entertainment.

“This Partnership between The Brickman and TEG initially kicked off in 2016 and since then we have managed to go from strength to strength by building audiences across the country and globally.

“The Brickman is now one of the biggest names in family entertainment and we look forward to bringing more world-class exhibitions to fans around the globe.”

Hamish Blake and Ryan “Brickman” McNaught

During the Australian Tour, a second and identical exhibition was built for international touring. This exhibition opened in Sweden in 2023, moving to Madrid in early 2024, and has now opened in Rio De Janeiro. This marks The Brickman’s sixth continent for an exhibition.

Following Rio, the exhibition will move to Sao Paulo and then Santiago, Chile in 2025. It is anticipated that by the conclusion of the season in Chile, this version of the exhibition will have also exceeded one million attendees – another incredible achievement for The Brickman.

The Jurassic World by Brickman exhibition is now headed for the United States, where it will debut at OMSI in Portland, and then Tour across multiple cities across the country.

See also: Lego Masters Australia vs The World crowns 2024 champions

About The Brickman

Ryan ‘Brickman’ McNaught is one of the world’s leading LEGO brick artists and the only LEGO Certified Professional (LCP) in the Southern Hemisphere.

McNaught said: “The Brickman Team are always up for a challenge, and constantly seeking to push the boundaries of what can be made from a square brick.

“Some of these models are amongst the most complex and challenging we’ve made to date, so being able to share this incredible experience with over 250,000 people at Queensland Museum is just incredible.

“I would also like to thank our partners at Universal Pictures and TEG who all played a part in bringing this iconic experience to life.”

Mazda Australia and oOh!media have teamed up to take over Sydney’s newly launched Martin Place Retail precinct with a high-impact out of home campaign of the Zoom Zoom brand proposition.

As the flagship activation of a broader national rollout, Mazda’s takeover leverages oOh!’s ten digital screens, spanning large and small formats, designed to capture attention in one of the city’s most highly sought-after locations.
 
Mazda’s campaign extends across oOh!’s multi-format network, utilising classic, digital and consecutive placement to amplify creative impact at scale across Street, Road, and Retail environments, ensuring a strong presence nationwide.
 
Alastair Doak, director marketing of Mazda Australia, said: “Martin Place Retail introduces our refreshed ‘Zoom Zoom’ proposition on a big unmissable canvas. Situated at the heart of Sydney’s commuter journey, it’s high-dwell environment allows us to connect with a key audience with impact, aligning with our long-term brand strategy.”
 
Chris Freel, group director sales, oOh! added: “As someone who has always been a fan of the original ‘Zoom Zoom’ concept, and as a proud Mazda driver, it’s exciting to see the campaign make such a strong return. Mazda’s takeover of Martin Place, combined with the scale of our network, is creating an unmissable presence. It’s a perfect example of how oOh! drives brand fame.”

B2B marketing consultancy I.M.A. is launching its own new specialist event offering, Echo Corporate Events.

IMA states Echo will manage every aspect of event strategy and execution, from concept to completion.

Echo aims to provide brands with impactful, real-world experiences that cut through the clutter and forge deeper customer connections. The division will specialise in creating transformative corporate events that promote brand presence and foster connections for business growth.

Jake Cush, partner, IMA B2B said: “The increasing demand for immersive experiences, combined with the decline in impact from purely digital marketing channels, makes it the perfect time to launch Echo as a specialist events business.

“IMA has managed events for more than two decades and launching Echo as a dedicated events capability will help IMA capitalise on the growth opportunity to help our clients cut through in a cluttered market via engaging, creative, and strategic events,” explained Cush.

Cherie Farr

The new capability will be led by newly appointed general manager – events, Cherie Farr. Previously event supervisor & logistics producer at NSW Department of Planning, Housing and Infrastructure, Farr’s 25 years of experience in event management includes overseeing large-scale events such as Vivid.

Farr said: “I’m delighted to be fronting this exciting dedicated capability and lead my team to create events that highlight the increasing trend that businesses are placing on personal customer engagement. Echo is strategically positioned to capitalise on this trend, offering its clients – including, but not limited to, traditional B2B engagements – a unique opportunity to stand out via immersive, creative events.

“In a marketing world seemingly saturated with AI and automation the need for authentic human connections is more crucial than ever. Echo aims to bridge this gap by delivering events that foster trust and loyalty, both essential for driving client growth in today’s competitive landscape.”

Echo will target a range of sectors, including retail, education, and technology.

The Shift 20 Initiative, in partnership with founding partner TikTok, today unveils its new TikTok channel, Shift 20 Casting Call, @shift20castingcall via Special.

Designed to educate, empower, and enable brands, advertising agencies and casting directors to find talent with disability, this further helps the Shift 20 Initiative’s efforts to increase disability representation on screen – whilst growing the talent pool and democratising the casting process for talent with disability.

Uniting the Dylan Alcott Foundation, TikTok and inclusive acting and modelling agency Zebedee, Shift 20 Casting Call will provide a world-first casting channel for Australians with disability interested in a career path in the talent space.

The channel will feature educational content from talent with disability represented by Zebedee.

Content will include guides on how to self-tape an audition, what to expect on a production set and how to fill out an access rider, empowering aspiring talent with the tools they need to succeed in the industry while also serving as a casting hub for brands and the wider advertising industry to cast from.

Dylan Alcott, AO, reflects on the progress the Shift 20 movement has made in a year and the road ahead: “This past year has been monumental; getting some of Australia’s biggest brands onboard and seeing them take representation seriously has been incredible. To continue this journey, and facilitate inclusion for people with disability we have to create safe spaces and employment pathways for people with disability who might fancy giving acting a crack.

“As a community, we’ve spent so long thinking it’s not a place for us or something we can consider as a career or even a hobby, but I’m here to tell you that this absolutely is – and we want to see, empower and open up opportunities for all of you who might want to give it a go.”

Adam Ferrie, creative director at Special said: “The appetite for brands to cast more inclusive of disability is growing, but the current talent pool is relatively small. In creating the Shift 20 Casting Call we’re opening the aperture, and access to incredible new talent.”

In 2023, the Dylan Alcott Foundation set out to shift the needle on disability representation across Australia with the launch of the Shift 20 Initiative. The initiative aimed to bring the poor rates of disability representation on-screen (1%) much closer to the 20% of Australians living with a disability.

The campaign launched with a collective of the country’s leading brands and has seen success with a rise of over 10% overall recall of disability representation in advertising post-launch.

Shift 20 Initiative partners, including Uber, ANZ, nib and Anytime Fitness, have committed to utilising the channel for future casting, creating new avenues for representation and tangible opportunities for people with disability in the industry.

“At TikTok, we’re committed to fostering an inclusive and diverse community where everyone has the opportunity to be seen and heard. Partnering with the Shift 20 Initiative to launch this initiative has been a huge step in empowering Australians with disability to pursue their passions and break into the industry. We believe this channel will not only create career opportunities but also help normalise disability representation across media and beyond,” said Brett Armstrong, GM global business solutions, TikTok AUNZ.

“As the leading global agency for disabled talent, we are over the moon to be working with the Shift 20 Initiative and TikTok on this project. We work tirelessly with the fashion, media and advertising industries to understand the ethical and business case for inclusive casting, and this platform is going to make it even more simple for talent and clients to connect,” said Laura Winston, director, Zebedee.

The Independent Media Agencies of Australia (IMAA) has crowned independent agency Enigma as the overall winner of its inaugural Pitch-Chella program.

The Enigma team, consisting of Noah Smith, Tracy-Lea Meyer, Tom McLoughlin, and Poppy Rhodes, impressed the judges with their “Blak Tank Australia” pitch.

The concept was inspired by the global hit TV show Shark Tank, and impressed judges with the idea’s potential to spotlight the unique value of Indigenous enterprises while also inspiring a national audience.

A combined team from indie agencies Assembled Media and Hatched, featuring Chelsea Schultz, Sophie Morris, Lauren Campagna and Bella Masters, took out the silver award for their “Deadly Leaders in Business” campaign, which celebrated Indigenous entrepreneurs. The campaign aimed to highlight the exceptional quality and profitability of Indigenous businesses and the long-term value delivered by supporting them.

The Media Store’s Daniel Paoli, Adriana Catanese and Emma Davis received the bronze award for their TikTok challenge pitch, which encouraged TikTok users to get involved in Ducktober. Using a clever ‘I Give a Duck’ filter to prompt engaging conversations, the team also proposed leveraging TikTok’s donation function to allow viewers to contribute directly.

A special award for Best Media Mix was given to Enigma’s Sarah O’Toole, Grace Haddow, Joshua Richardson and Amelia Sultana. Their pitch championed inclusivity, bringing Ducktober to regional and rural Australia and providing opportunities for participation in local waters. Using taglines like “Don’t have a body of water to duck into? We don’t discriminate, we have you covered,” their pitch aimed to shine a spotlight on the often-overlooked mental health needs of people in regional areas.

The Pitch-Chella awards were presented at the program’s closing party at Sydney’s Beresford Hotel overnight, with celebrations held for the winners and the 76 participants, representing 21 indie agencies, who competed in the inaugural program.

Pitch-Chella, created by a steering committee of indie agency leaders, was designed to support and nurture emerging independent media agency talent, encouraging collaboration, while developing much-needed pitching skills. The inaugural event was proudly sponsored by Audience360 and supported by Meta.

The participants had to prepare written pitches for campaigns for two national charities: the Northern Territory Indigenous Business Network (NTIBN) Buy Blak campaign or the Waves of Wellness Foundation (WOW)’s annual Ducktober fundraising event. The selected finalists then had to present a virtual pitch to a panel of marketing experts, ensuring their pitches were executed with clear attention to objectives, strategy and effectiveness, while also showcasing their use of TV, digital, out-of-home, publishing and news, cinema and audio channels to tell their campaign stories.

The Pitch-Chella judging panel included gold sponsor Audience360’s managing director, Jenny Parkes, Sparrow’s Nest Consulting’s Greg Graham, TrinityP3 Global media consultant, Stephen Wright, Kennards Hire general manager marketing and customer experience, Manelle Mehri, Tumbleturn Marketing Advisory partner, Daniel Johns, and Orand founder and senior media consultant, Adam Hickey.

IMAA CEO, Sam Buchanan, said the response to the pilot program had been overwhelmingly positive. “All 76 participants threw themselves head-first into Pitch-Chella, embracing the event’s spirit of collaboration, innovation and creativity. The judging panel was incredibly impressed with the calibre of entries and talent showcased by everyone involved in the program.

“Our teams thoroughly explored every element of the briefs provided and developed pitches that were well-rounded, competitive and well-executed. On behalf of the IMAA, I’d like to congratulate all our participants and thank our judging panel for lending their time and expertise.

“Pitch-Chella is another example of the IMAA’s commitment to professional development and upskilling. We have a wealth of emerging talent across our indie sector and it’s wonderful to see these next-generation marketing professionals coming together to enhance their skills. Additionally, Pitch-Chella is a good example of industry mentoring at its finest, with our senior, highly experienced industry experts sharing their expertise and learnings with our up-and-comers.”

The Pitch-Chella initiative was spearheaded by a steering committee of independent agency leaders including Mike Wilson (Hatched), Jessica Bray (Audience Precision), Jac Ely (Apparent), Lisa Blackshaw (Edge), Taylor Fielding (TFM Digital) and the IMAA team.

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Top image: Team Enigma

Clemenger BBDO has boosted its strategy team with four new industry talents as the agency states it is reimagining its strategy for a new era.

The appointments include experience strategy director Jon (JT) Turton, senior strategy director Vanessa (Ness) Quincey, head of product Maya Mausli and head of strategy Brooke Thompson.

Turton’s experience in CX, customer-centric design and business transformation includes five years leading digital transformation for the likes of Bunnings, JB Hi-Fi and Country Road Group at AKQA, and another five driving ecosystem design and voice-of-the-customer initiatives at MYER.

Quincey, who operates at the intersection of brand and social strategy to move clients seamlessly into cultural conversations, joins Clems following a decade in New York working at TBWA\Chiat\Day, GREY and VaynerMedia.

Mausli, who has held roles with Samsung Australia, McCann Worldgroup, AKQA and PwC, will develop products and services across connections and content strategy, analytics, customer insight and enterprise AI.

Thompson, previously strategy director with whiteGREY and Mindshare, will leverage her experience in connections and marketing strategy to guide brands in the Clems portfolio and oversee the department.

Clemenger BBDO chief strategy & experience officer Simon Wassef said, “Clems has a long history of reframing businesses, behaviours and culture. Now, we are reframing strategy for a new era in culture, marketing, experience and technology with these world-class talents. A company with Clems’ ambition needs strategists of this calibre.

“Ness is a gun whose grasp of how to build brands in culture is exactly what we need. Maya’s ability to solve really hard business problems is prodigious. JT enables us to drive our renowned brand thinking throughout the customer experience.

“Brooke’s insight and empathy make her an incredible head of strategy. I’m stoked to round out the strategy department with these legends alongside behavioural scientist Helena Duniec, brand strategist Cecilia Hund and head of cultural design, Rhian Mason.”

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Top image: Clemenger BBDO strategy team

Marketing agency Pangea has introduced a networking event for 20 marketing mums on maternity leave in Melbourne, whether currently employed or seeking new opportunities.

Empowering Marketing Mums Australia (EMMA) is an exclusive event in South Yarra that includes a two-hour forum on returning to work after maternity leave, rediscovering professional strengths, a crash course on recent industry trends, insights into how the modern marketing landscape has evolved, and inspiration.

This will be followed by an indulgent lunch at The Beverly, where attendees can enjoy good company and start building a community that supports and encourages one another through this rewarding yet challenging stage of life.

Guest speaker from Uber and mum, Luci Hodgson, said: “I think there can be a perception that ‘taking time off’ to birth/raise your children can be detrimental to your career growth and can leave you with a feeling of being left behind. The reality is that becoming a parent elevates you. It broadens your perspectives and experiences, forces you to prioritise your time and energy, and ultimately empowers you.”

Prudence Warnock, mother of two and business director at Pangea, spearheaded the development of this workshop, crafting a program that empowers mothers to feel reassured, confident, and inspired during this period.

She said: “As a proud mum and a dedicated professional, I deeply understand the emotional and practical challenges that come with returning to work after maternity leave—it can feel like a minefield! And only other working mothers can really understand.

“This workshop is designed to realistically address common challenges, and ensure that marketing mums, like myself, feel informed, prepared, supported, celebrated, and, most importantly, ready to step back into their careers with their best foot forward from day one.”

Other key speakers include Lauren Treweek, producer and co-host of the podcast Ready or Not and Libby Gude, Ozdare CMO and equality activist.

The event will take place on Tuesday, October 22, 2024, with the workshop starting at 10:00 AM, followed by lunch at 12:00 PM, and concluding at 2:00 PM. To register or learn more, email [email protected] by October 1st, 2024.

VML and the Australian Defence Force (ADF) have teamed up for the recruitment campaign efforts with the launch of 3D Out of Home (OOH).

The creative agency’s campaign was developed in partnership with Collider and using different technologies, including Unreal Engine, the OOH executions in Melbourne and Sydney to form part of the new ADF Careers Masterbrand Campaign, “Unlike Any Other Job.”

The OOH uses the role of an Australian Army Drone Operator to show how you can make an impact with a career in the ADF.

Defence Force Recruiting’s general manager, sourcing and attraction Fiona Boughton said: “We’re excited to leverage the latest OOH technology to connect with our audience in a new and engaging way, whilst capturing the attention of Australians that may be interested in an ADF Career.”

“In advertising, dragging people’s attention away from their phones is increasingly challenging, especially with out-of-home ads,” Paul Nagy, VML APAC CCO, said. “The visuals and motion used in these installations have managed to genuinely stop people who are passing by – while at the same time showcasing the cutting edge tech used by our forces.”

Earlier this year, the Australian Defence Force (ADF) launched the Unlike Any Other Job integrated brand platform. ADF Careers, launched last year, unites the Navy, Army, and Air Force under one recruitment brand.

The new platform aims to highlight the positive impact ADF personnel make in Australia and overseas, as well as the personal and professional benefits of a career in the ADF.

VML won the account in 2018 after previously losing it to Host/Havas in 2013. At the time when Host/Havas lost the 2018 pitch, which culminated in a shoot-out between VML, TBWA Melbourne, Clemenger BBDO, and the incumbent Host/Havas, the ADF was its biggest client, resulting in dozens of redundancies.

See also: ADF Careers launches ‘Unlike any other job’ platform via VML

Credits:
Client: Defence Force Recruiting
Agency: VML
Production: Collider

Paper Moose and Pukka have woken up Bondi residents with warm cups of Pukkaʼs new Morning Berry tea and challenged people to adopt a healthier caffeine-free morning ritual.

The Sydney creative-agency delivered the activation from cart to cups were eco-friendly and made from recyclable materials, embodying Pukkaʼs brand values.

In the morning sun, phones were out as influencers and early risers snapped photos and videos, sharing the activation organically with their followers.

“Weʼre thrilled to work with our Pukka friends in bringing three giant tea cups to Bondi Beach and enticing the early risers to try a healthy alternative to coffee,” Jeremy Willmott, creative director of Paper Moose.

Anna Kiernan, Pukka brand manager ANZ, said: “Paper Mooseʼs activation felt very much in the world of Pukka and we loved working with their team. Their impeccable level of craftsmanship helped introduce Morning Berry Tea in the best way possible.”

This work continues Paper Mooseʼs innovative experiential expertise, which includes activations for UNSW, Dexus, CBA, Westpac and Vivid.

Earlier this week, Wrappr unveiled a new brand identity, delivered by Paper Moose. Paper Moose positioned Wrappr as “advertising with benefits,” drawing on vehicular terminology to craft a brand concept that embodies value and impact.

Wrappr’s platform enables drivers to be paid for wrapping their cars in brand messaging. Paper Moose took this offering and helped Wrappr refine its narrative, placing its Advocate Out-of-Home (AOOH) offering firmly in the spotlight as “the next evolution of OOH media.”

Credits
Client: Pukka
Brand Manager ANZ: Anna Kiernan
Agency: Paper Moose
Executive Creative Director: Nick Hunter
Creative Director: Jeremy Willmott
Senior Creative: Pete Saladino
Art Director: Jessica McLure Copywriter: Feryx Hui Ming Lim
Design Lead: Georgia Shillington
Senior Designer: Evelyn Tran
Creative Strategist: Catho DʼSouza
Head of Client Success: Brad Bennett
Senior Account Director: Brigitte Harbrow
Senior Account Manager: Hannah Maher
Producer: Olivia Jeavons
Production Design and Construction: Emily Borghi

Tuesday 17 September 2024: VOZ Total TV Ratings Overnight Top 30 – Programs ranked on reach

Total People TV Ratings

Nine’s The Block recorded a total TV national reach of 1,905,000, a total TV national audience of 1,075,000, and a BVOD audience of 164,000.

Nine’s 9News recorded a total TV national reach of 1,911,000, a total TV national audience of 1,206,000, and a BVOD audience of 95,000.

Seven’s Seven News recorded a total TV national reach of 2,113,000, a total TV national audience of 1,322,000, and a BVOD audience of 67,000.

Also on Seven, My Kitchen Rules recorded a total TV national reach of 1,586,000, a total TV national audience of 837,000, and a BVOD audience of 72,000.

Tonight on MKR, Hannah and Lawrence proved the course of love doesn’t always run smoothly in the kitchen scoring 68 out of 110.

The loved-up couple set their sights on the top spot, but before too long the honeymoon was over, landing them in the middle of the leaderboard.

The star of the night was a strong main dish of Lamb Rump with Crispy Onion Rings, Carrot puree and Carrot-Top Salsa, but their dessert – Baked Apples with Brandy Caramel and Cinnamon Ice cream – burst the team’s love bubble.

10’s airing of The Cheap Seats recorded a total TV national reach of 846,000, a total TV national audience of 416,000, and a BVOD audience of 12,000.

People 25-54

Nine’s The Block:
• Total TV nation reach: 733,000
• National Audience: 460,000
• BVOD Audience: 100,000

Seven’s Seven News:
• Total TV nation reach: 557,000
• National Audience: 316,000
• BVOD Audience: 35,000

Seven’s My Kitchen Rules:
• Total TV nation reach: 487,000
• National Audience: 254,000
• BVOD Audience: 40,000

10’s The Cheap Seats:
• Total TV nation reach: 362,000
• National Audience: 185,000 
• BVOD Audience: 7,000

People 16-39

Nine’s The Block:
• Total TV nation reach: 335,000
• National Audience: 221,000
• BVOD Audience: 58,000

Seven’s Seven News:
• Total TV nation reach: 202,000
• National Audience: 110,000
• BVOD Audience: 18,000

Seven’s My Kitchen Rules:
• Total TV nation reach: 207,000
• National Audience: 105,000
• BVOD Audience: 21,000

10’s The Cheap Seats:
• Total TV nation reach: 132,000
• National Audience: 63,000 
• BVOD Audience: 3,000

Grocery Shoppers 18+ TV Ratings

Nine’s The Block:
• Total TV nation reach: 1,474,000
• National Audience: 831,000
• BVOD Audience: 131,000

Seven’s Seven News:
• Total TV nation reach: 1,672,000
• National Audience: 1,062,000
• BVOD Audience: 54,000

Seven’s My Kitchen Rules:
• Total TV nation reach: 1,245,000
• National Audience: 672,000
• BVOD Audience: 58,000

10’s The Cheap Seats:
• Total TV nation reach: 659,000
• National Audience: 326,000 
• BVOD Audience: 10,000

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.