Elon Musk’s latest update on Starlink’s offerings, moving beyond satellite texting to include images, music, and even video, could change how advertisers reach audiences. This isn’t just about better connectivity; it’s about how people consume content and, in turn, how brands engage with them.

For years, mobile advertising has been shaped by existing infrastructure, telco networks, Wi-Fi hotspots, and regional broadband. With Starlink’s satellite-powered service now integrated with Apple and Samsung devices, those barriers could start to fade. As coverage expands, mobile experiences will become truly global, untethered from traditional networks.

That means digital content consumption is about to shift. Streaming a video ad in a remote outback town? Downloading a podcast mid-flight over the Pacific? Receiving high-resolution display ads while hiking? This could all become normal. Mobile advertising is on the brink of a major evolution.

How mobile advertising will shift

The rise of Starlink as a mobile connectivity game-changer presents both challenges and opportunities for advertisers:

• Reaching new audiences: Satellite-powered mobile coverage means brands can engage audiences previously out of reach. Rural areas, remote islands, and underserved global markets could soon be prime advertising segments.

• Rethinking ad formats: With support for music, podcasts, and eventually video, advertisers need to rethink their creative strategies. Static banners and text-based ads might take a backseat to immersive, interactive content designed for a satellite-connected audience.

• Increased competition for attention: More seamless global connectivity means more competition for consumer engagement. Advertisers will need to double down on AI-driven personalisation and real-time bidding to stay relevant.

• Privacy and data concerns: Starlink bypasses traditional telco infrastructure, raising questions about data ownership. Who controls consumer data in a satellite-powered world – Starlink, phone manufacturers, or the end user? This could spark new regulatory debates.

A new era for advertisers and platforms

For ad platforms like The Trade Desk, Google, and Meta, a satellite-powered mobile landscape means rethinking how ads are served. Advertisers will need new programmatic strategies to target users in growing locations where Starlink is expanding access.

Starlink’s role in mobile services also raises a big question: Could it eventually become an advertising player itself, cutting out traditional media networks and buyers? Given Musk’s history of industry disruption, it’s not far-fetched.

With Starlink promising medium-resolution video functions in the near future, brands need to start planning for a world where satellite-driven mobile engagement is the norm. This won’t just affect advertising, news, entertainment, and e-commerce will all have to rethink how they reach a constantly connected audience.

One thing is clear: as Starlink reshapes mobile connectivity, the brands that move early will be the ones shaping the future of digital engagement.

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The radio and entertainment industry was recently left shocked by the Australian Radio Network’s (ARN) decision to make rising star Mitch Churi redundant.

Churi, who spoke to Mediaweek in between a flurry of meetings (“who knew redundancy could be so busy”) said while he was originally “shocked”, he’s since made peace with the decision.

“The way I work is I move on quickly. I do it with breakups, and I do it with, evidently, redundancies,” he said. “I immediately start thinking, how do I make this work?”.

It didn’t take Churi long to ‘make it work’ to his advantage. Since leaving ARN, he’s already wrapped up a plum hosting gig on Nova, that saw him host a national breakfast show while its regular programs were on break. While it was only one show, Churi said that was all it took to remind him how much he loved and missed live radio.

“This is Nova and I flirting with each other on a very public platform,” he joked. Hinting the pair  “were talking about the potential of me fitting into the family and the network.”

In the meantime, Churi revealed he’s got his eyes set on the Silver Screen, after being named as a finalist for ACCTA’s Reg Grundy Award.

The prize? $50,000 to create and make a new piece of unscripted television.

Churi’s idea? What else, The Mitch Churi Chat Show.

“I’m currently working on a treatment, and I’ve got a pitch together,” he revealed to Mediaweek.

“It’s basically a Graham Norton style chat show, and I’m currently putting together a treatment. Hopefully I can get a pilot off the ground and we can shop around to networks.”

For someone who is no stranger to sharing his private life on social media, Churi has kept this latest news relatively quiet. “I haven’t really said anything publicly until now,” he revealed. “I haven’t told my followers or posted anything, but I’m putting a lot of my time and energy into this.”

“I kind of got into radio to end up in TV, so it all kind of feels like … the timing is just right,” he said.

The winner of the award will be announced on 7th February at the ACCTA Awards.

Picture: Mitch Churi

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Uber Eats is back with another cheeky instalment of its Get Almost, Almost Anything campaign, this time enlisting the one and only Cher for a nostalgic (and slightly chaotic) trip through time.

The pop icon stars in the latest spot, seen humming along to her classic hit before making a bold Uber Eats order: a time machine.

The result? A hilarious misfire that sends her back a few too many centuries – far beyond the neon-lit 80s she was aiming for.

“I get approached to do commercials all the time, but the creativity and humour of this concept hooked me right away. I love the final product… though I do hope Uber can get me back my boots,” Cher quipped.

The campaign, created by Special and Essence Mediacom, extends beyond the TVC with social spots that explore Cher’s less-than-glamorous adventures in the 17th century – contrasting the rough realities of the past with the modern-day convenience of Uber Eats.

Uber Eats ANZ Brand Lead, Channa Goonasekara, summed it up: “There’s no bigger name in entertainment than Cher. We wanted to take one of her most iconic songs and looks and use them to reinforce our message: Uber Eats can deliver thyme, but it can’t turn back time – and as it turns out, that’s probably for the best.”

Uber’s Head of Marketing, Nicole Bardsley, added: “Uber Eats is all about saving people time, and who better to front that message than someone as timeless as Cher? We hope this campaign resonates with Aussies and reminds them of the huge range of everyday essentials available at their fingertips.”

The ad made its debut during Married at First Sight, with supporting digital, audio, and social content rolling out across multiple platforms.

With past Get Almost, Almost Anything campaigns featuring the likes of Kris and Kendall Jenner, Tom Felton, Nicola Coughlan, Jason Alexander, and Andy Murray, Uber Eats has mastered the art of poking fun at the limits of its own service. And with Cher now in the mix, the global campaign – already running in markets from the US and Canada to Taiwan and Portugal- has hit a new high note.

CREDITS

Uber Eats
Senior Director of Marketing, International: Lucinda Barlow
Senior Director of Marketing, APAC: Andy Morley
Head of Marketing, ANZ: Nicole Bardsley
Brand Lead, ANZ: Channa Goonasekara
Brand Marketing Manager: Rebecca Macciolli
Brand Marketing Associate: Holly Dover
Global Executive Creative Director: Danielle Hawley
Creative Director, APAC: Adam Ledbury
Associate Creative Director: Yessy Downs
Director Communications, ANZ: Peta Fitzgerald
Head of Delivery Communications, ANZ: Nick Vindin
Media Lead, ANZ: Rob Maddison
Strategy Lead, APAC: Josh Pickstone
Sr. Marketing Manager, NZ: Olivia Sykes
Talent and Legal: Cameron Loughlin, Jessica Shao

Special
Partners/CEO: Lindsey Evans & Cade Heyde
Partners/CCO: Julian Schreiber & Tom Martin
Creative Directors: James Sexton & Harry Neville-Towle
Lead Creatives: Hannah McCowatt & Laura Grimshaw
Managing Director: Lauren Portelli
Team Leads: Rachel McEwen, Laura Little
Business Director: Claire Emery
Business Manager: Oscar Kennedy

Head of Strategy: Celia Garforth
Strategy Director: JJ Bender
Head Of Film Production: Sevda Cemo
Executive Producer: Wendy Gillies, Paul Johnston
Integrated Producer: Will Sealey
Head Of Stills: Nick Lilley
Stills Producer: Danielle Senecky
Head Of Design: Adam Shear
Designer: Maggie Webster, Cameron Morris
Finished Artist: Jen Bailey, John Rivera
Exit Films / Smuggler Films
Director: Mark Molloy
Cinematographer: Robert Elswit
Executive Producer: Leah Churchill-Brown
Producer: Alexandra Taussig
Producer: Luigi Rossi
1st AD: Peter Kohn
Casting Director: Jodi Sonnenberg

Chee Productions
Executive Producer: Tamiko Wafer
Executive Producer: Matt Chee
Photographer: Christopher Tovo
Digital Operator: Jake Lowe
Retouching: Cream Studios

The Editors
Editors: Stewart Reeves
Managing Director: Nicoletta Rousianos
Executive Producer: Rita Gagliardi
Lead Flame Artist: Eugene Richards
Colourist: Fergus Rotherham

Rumble Studios
Lead Sound Designer: Tone Aston
Sound Designer: Daniel William
Sound Executive Producer: Michael Gie
BTS Press: Tony Gardiner ACS
Media Agency: EssenceMediacom
Retail Agency: Hatched

Picture: Cher for Uber Eats

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SXSW Sydney is back, and the call is out for creators, innovators, and game-changers to now be part of the action.

From October 13-19, 2025, Sydney’s creative heart – Darling Harbour, Chippendale, and Broadway – will transform into a playground of ideas, music, film, tech, and culture.

After a record-breaking 300,000 attendees from 56 countries in 2024, the 2025 edition promises to go even bigger.

Last year’s program featured more than 1,600 events, including industry-defining conference talks, live music, film screenings, games showcases, and brand activations.

Now, submissions are open across all pillars of the event, giving creators the chance to take centre stage.

How to be a part of SXSW Sydney

With 23 diverse tracks spanning Tech & Innovation, Business & Leadership, Marketing & Media, Culture & Lifestyle, Sustainability & The Future, and Creative Industries, the event is a platform for game-changing ideas and thought-provoking discussions.

Aspiring speakers can submit proposals via Session Select, where entries undergo a public vote, expert evaluation, and industry review before final selection.

Submissions close March 23, 2025, with public voting opening in March and successful applicants notified by the end of June.

For those keen to help shape the conversation, SXSW Sydney is also seeking Conference Evaluators to be part of the review process.

Key dates for SXSW

• Conference Submissions close: 23 March, 2025

• Music submissions close: April 6, 2025

• Screen Submissions close: 1 May, 2025

• Games Submissions close: 30 June, 2025

With thousands of industry leaders, media, and fans from across the Asia-Pacific attending, this is a rare opportunity to be discovered, make connections, and leave a mark on one of the world’s most dynamic creative festivals.

For details and to apply, visit sxswsydney.com.

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Chinese online marketplace Temu has claimed the title of Australia’s fastest-growing website, with a 72% spike in unique visitors last year, according to Similarweb’s 2025 Digital 100 Australia report.

The platform outranked Property.com.au and ChatGPT.com, which placed second and third, respectively.

The report showed the Australian government’s myGov app has soared in popularity, topping the mobile app charts with a 63% surge in monthly active users. Rising from 1.03 million users in 2023 to 1.67 million in 2024, the app’s growth highlights a shift towards greater digital engagement with government services.

However, when it came to Apple’s app charts, Temu topped that, becoming the most downloaded iPhone app in the country and leading in 25 markets globally.

Launched in 2022 and entering Australia in March 2023, Temu credits its success to a direct-from-factory model that connects shoppers with manufacturers for competitive pricing. Locally, it has streamlined logistics by enabling sellers to ship directly from Australian warehouses, speeding up delivery times and boosting product variety.

Now operating in over 80 markets worldwide, Temu continues to shake up e-commerce with its rapid global expansion.

Local success

Locally, Temu’s success has seen Wesfarmers forced to close local online retailer Catch, citing rising losses and intense competition from international giants.

In an ASX statement, the retail group announced that Catch’s operations will wind down, with assets integrated into other divisions. Fulfilment centres will move under the Kmart Group, and digital capabilities, including supplier networks, will be absorbed across the business.

While 100 roles will be redeployed, 190 jobs will be cut. The closure is expected to cost Wesfarmers up to $60 million, with Catch projected to post a $40 million loss for the first half of FY25.

Temu was recently investigated by The Australian Competition and Consumer Commission (ACCC) after a woollen children’s jumper, recalled in November, left a young girl severely injured when it caught fire at a family gathering.

The hoodie, which lacked the required fire hazard warning label, was found to breach Australian standards for children’s nightwear.

Temu’s voluntary recall cited a “risk of serious burn injuries” from the jumper if exposed to flames or heat, warning that consumers may not have been aware of the danger.

In a written statement to Mediaweek, the ACCC said it “engages with online platforms to take active steps to promote product safety on their platforms to reduce the risks to consumers.

“Some of these are signatories to the Australian Product Safety Pledge. Temu has expressed an interest in joining the Australian Product Safety Pledge. Discussions with Temu are in the early stages and ongoing.”

Pictured: Temu

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New research from online retailer Kogan.com has revealed the show most Australians are gunning to return in 2025.

According to search trends across 50+ new and returning free-to-air shows, The Block is the number one show we’re getting ready to sit down and … well, inhale.

The home renovation series dominated as the most searched TV show of the year, racking up an impressive 51,950 average monthly searches. That’s 13,500 more searches than Married at First Sight, which came in second with 38,340 searches.

To compile the data, researchers looked at how often Australians search for over 50 new and returning free-to-air TV shows each month.

To find out which shows people are most excited about, they included search terms like watch, when, new season, release date, channel, and Australia. The shows were then ranked based on their search numbers, revealing the most anticipated programs for 2025.

A Kogan.com spokesperson said: “From reality shows to gripping dramas, Australia is known for producing some outstanding TV.

“An exciting mix of new series is hitting our screen this year, from the nostalgic revival of Big Brother Australia to the new Stranded on Honeymoon Island and the award-winning New Zealand series Madam. Viewers will be spoiled for choice.

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Vodka Cruiser has teamed up with Clemenger BBDO and Glue Society to launch its new brand platform, Bold Choice, to prove how bold the Vodka Cruiser brand and drinkers are – by throwing unsuspecting drinkers into its big, new brand ads. Without any prep.

Clems and Glue Society hired the Enmore Theatre, assembled a live camera crew, hand-crafted eighteen costumes, built three intricate sets, composed a suite of custom tracks with a viral TikTok DJ and spent weeks choreographing three elaborate dances. Then threw random people from the street into the mix…

Sydney locals were asked to be in the ad by hosts – including TikTok sensation Maddy Macrae – while walking down the street on a typical weekday. An entire cast and crew then waited for them inside the Enmore Theatre, ready for the participants to say ‘yes’ to leading a spontaneous on-the-spot performance.

In collaboration with Glue Society, Clems brought to life three unique ‘Cruiser Worlds’, designed to throw even the most confident ‘yes-person’ off guard. Inspired by the flavours of Vodka Cruiser, each world featured extravagant, elaborate costumes and a choreographed Vodka Cruiser dance number to a bespoke music track by viral musician @CandyMoore.

“We are beyond excited to launch our new brand platform Bold Choice, brought to life through this social experiment, designed to test even the most confident ‘yes-person’,” Monique Di Gregorio, Vodka Cruiser marketing manager, said.

“Being bold to us means celebrating bold acts and spontaneity, living for yourself unapologetically, being self-aware, and drawing people in for the better!

“With summer in full swing across the country we’re calling on Aussies to be adventurous and fearless, and we hope the social videos inspire more people to live their best life and say yes to the unexpected!”

Zoe Perrin, Clems senior art director, said: “There’s nothing quite like letting talented craftspeople flex their skills at scale. The A-team of crazy creatives that Glue Society assembled for this was next-level and their craftsmanship has shone through in this bold world we’ve created for those brave enough to enter it.”

The entire spectacle was captured like a live performance. Whatever happened on that stage (good, bad, or awkward) became Vodka Cruiser’s final ads and branded content. What could go wrong?

Clems chief creative officer Adrián Flores noted that this single idea gave the brand a buffet of campaign assets, as well as PR and ongoing social content.

“It’s not often that the 6 second spots are my favourite part of a campaign. Don’t quote me on that though. But beyond being a bit bonkers and incredibly difficult to pull off, this project is a great example of how our in-house studio Chemistry Set helps amplify our creatives’ vision by weaving relevant talent into the story and using their platforms to fuel further conversation. Plus it’s just fun.”

An idea with an element of uncertainty might seem impossible to sell in, but Clems senior creative, Riana McKenzie said that’s exactly when you know you’re onto something great.

“Innovative ideas require a series of bold yes’. From our leaders who backed this idea to our brave clients who bought it; the brilliant collaborators at Glue who helped bring it to life and our wonderful street-cast stars who stepped up…I think we all deserve a Vodka Cruiser.”

The final campaign is live across Cinema, Social, Online Video, and OOH. The full story, along with more BTS and further content will be promoted on YouTube and social.

CREDITS
Client – Carlton & United Breweries
Head of RTDs and Cider – Sarah Wilcox
Marketing Manager, Vodka Cruiser – Monique Di Gregorio
Brand Manager – Angelique Kyritsis 

Creative Agency – Clemenger BBDO
Chief Creative Officer – Adrián Flores
Executive Creative Director – Richard Williams
Creative Director – Brodie King
Senior Art Director – Zoe Perrin
Senior Copywriter – Riana Mckenzie
Designer – Sebastian Sarria
Chief Strategy & Experience Officer – Simon Wassef
Head of Strategy – Brooke Thompson
Strategy Partner – Brigitte Bayard
Managing Partner – Jason Melhuish
Group Business Director – Sam Siddons
Business Director – Lauren Mayne
Business Manager – Mack Horton
Executive Producer – Ainslee Littlemore
Editor – Jennifer Cahir

Social, PR & Influence Studio – Chemistry Set
Head of Cultural Design – Rhian Mason
Social Media and Content Director – Elly Brand

Production Company – Revolver
Directing Collective – Glue Society
Directors – Millicent Malcolm & Jonathan Kneebone
Managing Director/Co-Owner – Michael Ritchie
EP/Partner – Pip Smart
Executive Producer – Jasmin Helliar
Producer – Lib Kelly
DOP – Sherwin Akbarzadeh
Production Designer – Al Joel
Art Director – Emily Borghi
Choreographer – Maya Sheridan
Costume Designer – Matt Stegh

Post Production – Glue Society Studios
Editor – Luke Crethar
Colourist – Scott Maclean
Online – Scott Stirling

Media Agency – PHD & 1House
PHD
Group Planning Director – Elizabeth O’Dowd
Planning Director – Shahrzad Eftekhar
Investment Director – Ryan Wahl
Account Executive – Priya Rao
Digital Director – Carrie Nguyen
Digital Manager – Spencer Moore

1House
Social Planner – Zoe Moorhead
Social Specialist – Anna De Sousa

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Tourism Tasmania has appointed BMF Australia as the lead creative agency.

BMF will continue to work on the creative strategy and execution for Tasmania’s destination brand, as led by the state tourism organisation.

The appointment builds on a successful partnership and will see the continuation of Tourism Tasmania’s long-term brand platform Come Down For Air and winter campaign Off Season.

Sarah Clark, CEO Tourism Tasmania, says the tender process was competitive: “We were incredibly impressed by the caliber of talent, amount of effort and professionalism among all applicants, demonstrating a strong and competitive creative industry in Australia.

“BMF showed an exceptional ability to align with our vision to connect people culturally and emotionally with Tasmania. We are excited to continue to work together in setting Tasmania apart from other destinations.

BMF CEO Stephen McArdle says they are thrilled to continue their partnership with Tourism Tasmania: “It is a privilege to work with a client that shares our commitment to creativity, and we’re excited to build on the incredible success we’ve already achieved together. We can’t wait to create more work that highlights the distinctiveness and beauty of Tasmania.”

Over the past five years, Tourism Tasmania’s brand platform Come Down For Air and winter campaign The Off Season have garnered significant recognition. Both campaigns have earned prestigious industry accolades, including a Gold Effie for Strategy and Insights in 2023 and Silver Effie for Long-Term Effects in 2024.

The Off Season campaign positions Tasmania as a must-visit winter destination, aiming to boost tourism during the traditionally quieter travel period between May and August.

In Tasmania, the Off Season represents a significant collaboration with the local tourism industry to reshape Australians’ idea of a winter getaway. More than 400 businesses across the island offer exclusive, seasonal experiences during the cooler months, which have been depicted in BMF’s campaign.

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Family-driven content saw the fastest growth among Australian creators across TikTok, Instagram, and YouTube in December, according to Fabulate.

Lucy Ronald, head of strategy and talent, said: “We always see a broad breadth of creators coming through our monthly Fabulate Discovery list but this month really saw ordinary Aussies who simply use social media to connect to audiences about their everyday lives.”

“Clearly, Australians enjoyed seeing how others celebrated the holiday season. This month’s list of fast-growing creators featured several family or kid-focused accounts whose followings soared. For example, Ilai Mantagi, with over 800,000 Instagram followers and two million on TikTok, captivated audiences with his family’s adventures. Similarly, the Gerrard family racked up 2 million views for their Christmas Day Harlem Shake video, showing there was a clear audience for this type of content.”

The Brisbane-based creator saw his Instagram following soar to more than 800,000 over the Christmas break on his social accounts, where he often pranks his three youngest daughters, Mia, Mele, and Nini.

The growth made his account one of the fastest-growing Instagram accounts in December and came just weeks after he was named TikTok’s Comedy Creator of the Year 2024. Mantangi, Ivy Talent, has some 2 million TikTok followers.

Similarly, the Gerrard family has been garnering strong audiences for some of their Christmas Day videos and summer barbeques on TikTok. The account, run by mum of three Taylah Gerrard, represented by Influer, was one of the fastest growing TikTok accounts in December and features snapshots of various members of their broader family. Their videos often garner hundreds of thousands of views.

On YouTube, ‘kidfluencer’ Isaac’s Awesome Adventures has grown to more than 160,000 followers with more than 500 videos featuring the young Isaac driving a variety of toy vehicles.

Each month, Fabulate—named Australia’s Best Influencer Marketing Technology at the industry’s AiMCO Awards in March—uses data from its Fabulate Discovery Platform to help marketers and agencies identify the best up-and-coming Australian creators on TikTok, Instagram, and YouTube. The company also secured a spot in the top 10 of the prestigious Deloitte Tech Fast 50 last month.

–

Top image (left to right): Ilai Matangi, the Gerrard family, Isaac’s Awesome Adventures

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Majority of marketers feel unprepared for GenAI implementation and integration, leaving significant untapped opportunities on the table.

New Kantar research identifies the key challenges and best practices for unleashing the potential of GenAI in marketing teams, and sets out a roadmap to guide marketing leaders through the process.

The findings from the new in-depth qualitative study, GenAI for Marketing: Fear or FOMO, are based on interviews with more than 50 marketing and capability leaders around the world and highlight the gap between the potential of GenAI to revolutionise the industry and current adoption among marketers.

Looking ahead to the next three to five years, the consensus among senior marketers and capability builders is that GenAI is going to be a game-changer, with interviewees rating its impact at 9.0 out of 10 on average.

The report found that organisational readiness is lagging, with most respondents admitting they’re not quite AI-ready (4.9 out of 10), though external partners like agencies and data providers are seen to be slightly ahead of the curve at 5.3/10. This lack of readiness is holding back marketing’s GenAI revolution, with respondents believing that the industry is still in the early stages, rating the current impact of the technology on the industry at 5.3 out of 10.

GenAI equals effectiveness, not obsoletion

While some of the reluctance about AI stems from fears around the preservation of traditional marketing skills, Kantar found that marketing leaders understand that expert oversight will be essential, and that it will continue to be necessary for a human to be in the loop.

Additionally, without foundational marketing skills, marketers risk becoming overly reliant on GenAI, cutting corners and losing the ability to critically evaluate AI-generated content.

Stephan Gans, chief consumer insights and analytics officer, Pepsico, told Kantar: “People also feared that the accounting business would soon become obsolete when Microsoft launched Excel. Instead, we have more accounting firms than ever.”

The four roles for GenAI in marketing

The study outlined four ways that GenAI is set to transform marketing:

• Strategic advancement: building long-term brand strategies and challenging, validating and finetuning marketing outputs. For example, Group Bel developed its own internal GenAI tool, BelGPT. Amongst other functionalities, it connects market share, channel-based sales, and competitive data to see where the biggest growth opportunities for the portfolio sit, using AI as decision aid.
• Operational efficiency: using GenAI for day-to-day execution, streamlining tasks and automating processes like data management, tracking and workflow automation. When Reckitt analysed how its marketers were spending their time, it revealed where GenAI could be most impactful. They helped marketers automate some of their most time-consuming tasks and focus on what really mattered.
• Brand elevation: empowering long-term brand planning and innovation, using GenAI to help align marketing with overarching business goals, guide teams and influence trend forecasting. For example, Coca-Cola asked fans around the world what the year 3000 would taste like and combined this with insights from GenAI to co-develop a new limited-edition flavour, Y-3000.
• Automated marketing: engaging consumers in real time with tailored content. GenAI can help marketers with tasks including automating media buying or personalising messaging for different channels, devices and languages. For example, AIA, one of Asia’s leading insurance companies, created AI Sonny, an AI version of footballer and brand ambassador Son Heung-min who appears in videos to welcome and onboard new customers in a more personal way.

Schwabe Group, a health and pharmaceutical company, is an example of how end-to-end integration of GenAI enables businesses to capitalise on these opportunities.

Alexander Reisenauer, director global digital marketing, global brand and health interest strategy – Schwabe Group, said: “GenAI helps us to solve complex challenges and work more efficiently across our business.

By implementing AI initiatives in departments like R&D, we are able to accelerate processes while ensuring we meet high scientific standards. Nevertheless, it’s important to say that humans remain at the centre of what we do. AI supports us in focusing on what truly matters – developing innovative solutions to improve health.”

Conquering AI fear and FOMO

The benefits of successfully adopting GenAI tools include reducing the product development cycle to as little as six weeks and creating world-class creative concepts in 60 per cent less time – underscoring the need for marketing leaders to act fast. Kantar’s study sets out how leaders can take their teams on the journey from fear to enthusiasm, with a roadmap setting out an approach for strategy, ways of working, training and leadership in the short, medium and long term.

Lyn Lim, head of commercial growth, consulting at Kantar APAC, said: “The overwhelming consensus among senior marketers is that GenAI is going to revolutionise the industry. But reality today is that many companies don’t feel ready yet. We see that leading organisations are making the shift from using GenAI predominantly for efficiency reasons to now also driving effectiveness.

“Those that get it right will succeed by building excitement and understanding around GenAI among everyone in their business: how they can help them achieve more with greater efficiency, speed, and effectiveness. We believe APAC marketing has the potential to leapfrog the world in its adoption of GenAI, just as it’s led the world in other aspects like social commerce and mobile marketing.”

Colin MacArthur, managing partner, consulting at Kantar Australia, added: “GenAI is not just a tool for efficiency; it’s a catalyst for innovation and effectiveness. As we embrace this technology, we unlock new opportunities to connect with our customers in more meaningful ways, driving both growth and engagement.”

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ASB’s Ben & Amy, ANZ Sharma Family, and One NZ’s Let’s Get Connected were among New Zealand’s top 10 favourite ads from Q4 2024.

Results from the quarterly Favourite Ads Survey by research and insight agency TRA rank the most popular television ads based on spontaneous recall and sentiment based on candid feedback from more than 1,000 Kiwis aged 18 to 60.

Maintaining its lead is ASB’s Ben & Amy, followed by ANZ Sharma Family and in third place, Let’s Get Connected for telco One NZ. In fourth place is Purina One’s Feeding the Kiwi in All Our Dogs, and rounding out in fifth is KFC with The Power of KFC.

Turners Cars moved up two places to sixth with their ad featuring Tina, a play on the Queen of Rock ‘n’ Roll’s name, while PAK’nSave’s Stickman dropped one place to seventh.

New Zealand’s energy company Genesis’ ad, George and Family, had the biggest drop in the list, down three spots. Both making their return to the lists are NZ Post’s heartwarming Festive Fibs ad in ninth and McDonald’s Summer Driver in tenth spot.

Colleen Ryan, partner at TRA, attributes the recurring success of ads such as ASB’s Ben & Amy to strategic consistency. “It’s unsurprising to see the same brands continue to dominate favourite ads rankings. The human brain does a paradoxical thing, it favours familiarity but also alerts our attention to what’s new and different.

“That’s why we see brands who invest in a single recognisable brand idea over time build popularity and momentum while continuing to hold attention by introducing fresh creative ideas into familiar campaigns. We see this in the enduring love of ASB and ANZ’s campaigns.

To understand what it is about the creative executions that win favour, we use our proprietary Creative Edge framework to analyse ad success. The framework includes the ‘three R’s’; how likely an ad is to grab people’s attention (Remarkable), entertain (Rewarding), and how strongly the brand is linked to the creative idea (Remembered).

While ASB and ANZ have held the top 2 spots in their rankings since December 2023, this quarter the results also revealed a comeback for NZ Post and McDonalds.

On the changes in rankings, Ryan said: “The one to watch is One NZ’s ‘let’s get connected’ campaign that continues to climb the rankings. Just over three months from launch, it’s now in third place; that’s effective advertising at play.

“Kiwis admire people who live life in their own unique way, and this ad reveals a range of quirky characters on an entertaining quest to find belonging and connection. Since launch, we’ve seen these highly recognisable TV characters used across multiple media channels and brand touchpoints talking about the full range of One NZ products and services.”

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Taste.com.au has set a new high, claiming its largest audience since Ipsos iris rankings began, leading Australia’s lifestyle category with 5.47 million users in December – up 14.4% year-on-year and 1.36 million ahead of the nearest rival.

Reaching one in four online Aussies, the site racked up 100 million page views, with engagement three times that of competitors. It also dominated the lifestyle sub-category in audience, video, and page views.

The site’s content director Laura Simpson credits the surge to a fresh content strategy, product upgrades, and a bold marketing push.

“Recognising shifts in the grocery buyer landscape, we developed more content to appeal to men,
younger demos, and singles and couples who aren’t cooking big meals every night,” Simpson said.

“What was encouraging to see in December was that while we increased our overall audience by
14.4 per cent year-on-year, our male audience increased by more than 30 per cent, and our
younger audience (14-24s) by 37.8 per cent.

“We’ve also diversified our content mix to include food knowledge. The majority of this new, tip-
based content is video-led, adding value for our audience by packaging up the decades of expertise on the taste.com.au food team into short, snackable segments.

“This was all wrapped up with a new brand visual identity across all platforms – injecting more
colour and energy with a different approach to photography and styling, culminating in a major
marketing campaign that rolled out across audio, social, OOH, TV and online over the Christmas
period.”

Pictured: Taste.com.au

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Australia will take the stage in the second semi-final of the Eurovision Song Contest 2025, set to take place in Switzerland this May. SBS will once again bring the glitz, drama, and musical spectacle to Australian audiences, with the national broadcaster yet to reveal this year’s representative.

The semi-final allocation draw, conducted this week, has determined which nations will compete in each round before the all-important Grand Final. Australia joins Armenia, Austria, Greece, Ireland, Latvia, Lithuania and Montenegro in the first half of the second semi-final, while the second half will feature Czechia, Denmark, Finland, Georgia, Israel, Luxembourg, Malta and Serbia.

When to watch

For Australian fans eager to follow the action, the second semi-final will air on Friday 16 May (Australian time). Meanwhile, the first semi-final is scheduled for Wednesday 14 May, and the Grand Final will take place on Sunday 18 May (AEST). SBS is expected to announce its broadcast schedule and hosts in the coming months.

How the voting works

As per Eurovision tradition, the ‘Big 5’ countries—France, Germany and the United Kingdom—will be voting in the second semi-final, while Italy, Spain and host country Switzerland will have voting power in the first semi-final.

With Australia’s continued passion for Eurovision and a strong history of participation, anticipation is already building around which act will represent the nation on the global stage. Stay tuned for more updates as SBS unveils its artist and plans for the 2025 contest.

Eurovision 2025 semi-final breakdown

First semi-final – Tuesday 13 May (Wednesday 14 May AEST)

First Half:

• Estonia

• Iceland

• Poland

• Portugal

• Slovenia

• Sweden

• Ukraine

Second Half:

• Albania

• Azerbaijan

• Belgium

• Croatia

• Cyprus

• Netherlands

• Norway

• San Marino

Voting: Italy, Spain, Switzerland

Second semi-final – Thursday 15 May (Friday 16 May AEST)

First Half:

• Armenia

• Australia

• Austria

• Greece

• Ireland

• Latvia

• Lithuania

• Montenegro

Second Half:

• Czechia

• Denmark

• Finland

• Georgia

• Israel

• Luxembourg

• Malta

• Serbia

Voting: France, Germany, United Kingdom

The Grand Final will take place on Saturday 17 May (Sunday 18 May AEST), where the best of the best will battle it out for Eurovision glory.

Who will fly the flag for Australia this year? Stay tuned to Mediaweek for all the latest Eurovision 2025 updates.

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Grill’d Burgers has partnered with the Melbourne Football Club as a major partner of the club.

The deal will see the Melbourne-born burger brand’s logo sit front and centre on the club’s AFL guernsey and the top back of the AFLW jumper in the upcoming 2025 AFL season.

This partnership marks Grill’d’s first foray into AFL sponsorship, replacing McDonald’s, signifying a shared commitment to community, health, and quality, with both organisations striving to make a positive impact on and off the field.

Grill’d is no stranger to feeding sporting teams and athletes and working with club sports dietitians and nutritionists. AFL clubs already use Grill’d catering as the players’ preference.

In the past 12 months alone, Grill’d has catered over 6000 burgers to 18 AFL Clubs. Grill’d, which opened its first restaurant in Melbourne in 2004, has built a reputation for providing healthier, tastier, premium burgers. Its menu features 100% natural, premium ingredients high in protein and low in sugar, with 13 essential vitamins and minerals and real nutritional benefits to drive athlete performance.

Simon Crowe, Grill’d founder, said it’s exciting that two Melbourne-based, born-and-bred brands have come together to support each other. “AFL players, and elite athletes more broadly, have embraced Grill’d, not just because our burgers taste so good, but because they’re made with real, natural, premium, locally sourced ingredients that deliver the nutritional benefits athletes need to perform at their peak.

“As a Melbourne-born and bred business passionate about what makes this city so special, we’re super excited to partner with the Dees and support them both on and off the field.”

Chris Kearon, Melbourne chief commercial officer, echoed Crowe’s excitement, with Grill’d strongly aligning with the club’s values. He said: “The team at Grill’d place strong importance on health and nutrition, community initiatives, and giving back to social impact programs, and we’re thrilled to partner with an organisation that our fans, staff and players can be proud of.”

“We look forward to working with the team at Grill’d in 2025 to deliver some exciting – and of course delicious – deals to the Melbourne faithful.”

Melbourne AFL Captain Max Gawn said he was delighted in the Dees’ latest addition. “I’m a huge fan of Grill’d, as are a lot of the boys, so we’re pumped to officially have them on board. “I’ve heard there are some exciting things in the works, too, so hopefully, the Dees fans are just as stoked.”

With 173 burger restaurants across the country, Grill’d focuses on giving back via its Local Matters program, where each restaurant donates $500 to a local community group each month. This initiative has generated more than $7 million to local communities within Australia across Grill’d’s 20-year history. Grill’d is also a Major Partner of the Melbourne Storm and the Australian Institute of Sport.

–

Top image: Christian Salem, Max Gawn and Jack Viney

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Yahoo DSP is set to adopt IAB Tech Lab’s standardised data transparency labels.

These labels are designed to bring clarity to the data marketplace and follow a “Nutrition Label” format, providing marketers, agencies, and data providers with detailed, standardised information about audience segments.

The platform’s commitment to these labels represents a significant step forward in enhancing transparency and trust in the digital advertising ecosystem.

By integrating IAB Tech Lab’s data transparency labels, Yahoo DSP empowers advertisers with clear insights into the origin, recency, and segmentation criteria of data segments used for campaigns.

This allows for better decision-making, increased campaign performance, and greater accountability across the data supply chain.

“Transparency is critical to reinforce trust and drive better outcomes for advertisers,” said Giovanni Gardelli, Vice President of DSP data products at Yahoo.

“Our adoption of IAB Tech Lab’s data transparency labels reflects Yahoo’s commitment to delivering the highest level of clarity and quality to our partners. We are proud to lead the industry in this transformative initiative.”

IAB Tech Lab developed these labels to address the growing demand for consistent and reliable data transparency across the industry. The labels provide essential information about audience segments in a standardised way, ensuring advertisers can make informed decisions.

“Yahoo DSP becoming the first major platform to implement the data transparency labels is a practical step forward for the industry,” said Anthony Katsur, CEO of IAB Tech Lab. “It’s a clear move toward better accountability and trust in data-driven advertising, and it sets a straightforward example for others to follow.”

Dan Richardson, director of data and insights, AUSEA at Yahoo added: “The data transparency labels is a key milestone and reflective of Yahoo’s mission to guide advertisers through the digital wilderness – helping them navigate complex ecosystems with confidence.

“We are proud to be among the first to adopt these labels and deliver greater accountability to marketers striving to connect with their audiences in a compliant and ethical way.”

The Yahoo DSP integration of the data transparency labels builds upon recent curation efforts, including new supply intelligence partnerships, and is a part of a broader strategy to advance innovation, foster transparency, and ensure superior performance for advertisers worldwide.

Marketers understand curation efforts extend beyond supply, and this is a way to facilitate that for data, as well. The IAB labels will be accessible directly within the Yahoo DSP interface in early 2025.

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Paramount+ has locked in the exclusive Australian broadcast rights to Coppa Italia Frecciarossa, bringing all the knockout drama to local football fans from February 2025.

The action kicks off with the quarter-finals, streaming live and exclusive, all the way through to the final in May. Fans can catch Serie A giants like Juventus, Inter, AC Milan, Roma, and more battling for the coveted trophy.

The quarter-finals will kick off on Wednesday, 5 February with Atalanta facing off against Bologna live at 7am AEDT, followed by a Milan and Roma clash on Thursday, 6 February live at 7am AEDT.

The quarter-final round continues on Wednesday, 26 February when Juventus come up against Empoli, and Inter against Lazio live from 7am AEDT.

Already the home of the CommBank Matildas, Subway Socceroos, and A-Leagues, Paramount+ is doubling down on top-tier football coverage for Aussie fans.

When to watch

Atalanta V Bologna: 7am AEDT On Wednesday, 5 February.

Milan V Roma: 7am AEDT On Thursday, 6 February.

Juventus V Empoli: 7am AEDT On Wednesday, 26 February.

Inter V Lazio: 7am AEDT on Wednesday, 26 February.

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The countdown is on for the highly anticipated return of The Voice Australia, with TV WEEK Gold Logie winner Sonia Kruger back to host as a fresh wave of aspiring artists step up to chase their singing dreams.

Sporty Spice herself, Melanie C, joins GRAMMY-winning balladeer Richard Marx and chart-topping sensation Ronan Keating on the iconic red chairs. Rounding out the line-up is Australia’s genre-blending maestro, Kate Miller-Heidke, back for another season.

Melanie C said: “I have always cherished my trips down under over the years, so to be there with such a super lineup of coaches in one of my favourite countries is a real honour. Also, I am very happy to be missing some of the British winter!”

For Marx, the move is both a career and personal milestone: “I’m excited to have the opportunity to meet and nurture some truly talented singers. But I’m also just very happy to be coming to stay in Australia for an extended time. My love affair with Oz began in 1977 when I was 13 and my parents brought me with them for a month-long trip. After many more visits on tour playing to thousands and thousands of Aussie fans, it’s become a home away from home.”

Meanwhile, Keating is embracing a full-circle moment, returning to The Voice Australia in a country that holds deep personal significance.

He said: “I first set foot on Aussie shores nearly three decades ago, so I can’t wait to get back to the country where I also met and fell in love with my wife. A country that I now have family and feel right at home in. To be back in the big red chair is going to be really special, especially alongside Melanie C, Kate and Richard.”

Returning coach Miller-Heidke is equally pumped, ready to embrace the challenge once again: “I’m absolutely stoked to be coming back to The Singing Olympics aka The Voice this year. I can’t wait to hear all the new voices. Singing is an endlessly fascinating art form with the mystical power of connecting people.”

Meanwhile, Seven’s group managing director of television, Angus Ross, is confident the all-star line-up will deliver an unforgettable season.

“The Voice continues to captivate millions in its reign as one of Australia – and the world’s – biggest entertainment shows,” Ross said. ITV studios Australia CEO and managing director David Mott echoed the excitement, promising another show-stopping season.

Filming kicks off in Sydney next month, with The Voice Australia set to premiere later this year on Seven and 7plus.

Pictured: The Voice Australia judges

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Let’s get ready to rumble, shall we?

The road to WrestleMania kicks off with the Royal Rumble, and this year, the stakes are sky-high.

It’s survival of the fittest: the match begins with two Superstars in the ring. Every 90 seconds, a new Superstar enters the fray. Elimination only occurs when a Superstar has gone over the top rope and both feet have touched the floor. This continues until there is just one man left standing as the winner of the Royal Rumble Match.

The reward? A shot at World Championship glory.

WWE Royal Rumble streams LIVE Sunday 2nd February from 10am AEDT on Netflix

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