Wednesday April 8, 2026
oOh!media chair Tony Faure to retire
oOh!media has announced a leadership transition at the board level, with Chair Tony Faure set to retire after more than a decade with the company.
Faure will step down at the conclusion of the company’s Annual General Meeting on 14 May 2026, ending a tenure of nearly 12 years on the board, including more than eight years as chair.
Philippa Kelly will assume the role of Chair immediately following the AGM.
Kelly has served as an independent non-executive director since September 2019 and currently chairs the company’s Talent & Culture Committee.
She brings experience across real estate, asset management and financial services, and also holds roles as an independent director and chair of the investment committee at AustralianSuper, as well as non-executive director at River Capital.
‘Privileged to be part of the journey’
Faure said his time with the company had coincided with strong growth in the out-of-home category.
“It has been a privilege to have been part of oOh! since we listed in 2014… I have never been more confident about the strength of out of home as a category, and about oOh!media’s future as a category leader,” he said.
He added Kelly’s experience and knowledge of the business made her well placed to lead the next phase.
Next chapter
Kelly said she was looking forward to continuing to work with the board and management team to deliver long-term value.
“I am delighted to assume the role of Chair of the oOh! Board… to support the company’s strategy to deliver sustainable value for our clients and shareholders,” she said.
She also acknowledged Faure’s contribution to the business, highlighting his leadership since the company’s ASX listing.
oOh!media said it is progressing its search for an additional non-executive director, with an announcement expected in due course.
The transition comes as the company continues to position itself for growth within the evolving out-of-home media landscape.
Main image: Tony Faure
‘We became the act’: Marty Sheargold on how he and Kyle Sandilands became victims of their on-air personas
Former Triple M broadcaster Marty Sheargold says he and Kyle Sandilands became victims of the on-air personas they spent decades building, as he reflected on his exit from Southern Cross Austereo (SCA) and the pressures of commercial radio.
Speaking on the Game Changers podcast with Craig Bruce, Sheargold said that much of what high-profile radio hosts present on air is performance, not a direct reflection of who they are off-mic.
Sheargold suggested audiences often misunderstand the nature of commercial radio, particularly when personalities push boundaries in pursuit of cut-through.
“I think what gets forgotten in this is that, and I think Kyle [Sandilands] is going through this a bit at the moment as well with the drama that he’s living through. A lot of what we do is an act, and people find that really hard to believe,” he said.
“They go, oh, well, it’s a heightened version of you. And you start shaping it, and two decades later, it ends up here. And for many, many years, you’re patted on the back and thanked [for] raising revenue and [you do] all your client lunches and tick all those foul, c***-sucking boxes that we all tick”
The comments position Sheargold’s experience alongside Sandilands, who is currently embroiled in a legal battle with his former employer ARN, after they terminated his $200m contract for failing to remedy “an act of serious misconduct” in breach of his terms of employment.
He’s fighting the claims.
Kyle Sandilands
Exit from SCA
Sheargold and SCA mutually agreed to part ways in February 2025 following a backlash over controversial on-air remarks about the Matildas and women’s sport.
The fallout escalated beyond audience reaction, with the Australian Communications and Media Authority later finding the comments breached the Commercial Radio Code of Practice.
Randa Abdel-Fattah’s $900k grant application comes under scrutiny
The Australian has reported that controversial academic Randa Abdel-Fattah’s $900 000 research grant application cited romance novels as research.
Apparently, “a children’s picture book and young adult fiction novels were cited as ‘research achievements’,” in the tax-payer funded grant of almost one million dollars.
“Taxpayers fund $170-an-hour transcription costs for Randa Abdel-Fattah’s research grant that lists children’s books and romance novels as scholarly achievements,” it adds.
The publication has described Abdel-Fattah as “Israel-hating”, due to her historical pro-Palestine comments.
It is further reported that “Public funds were also used to fly two American academics to Australia to attend a workshop about the 30-year-old play, The Politics of Belly-Dancing, at a cost of $6100.
“Describing herself as a ‘scholar-activist’, the provocative Macquarie University academic told the Australian Research Council her research was ‘informed by my own political activism’.”
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The Australian further reports that the grant application says, “Since 2005, I have been a prolific and award-winning novelist of children’s and young adult fiction, as well as a community organiser and activist, working in anti-colonial, local and transnationally-focused global justice groups and networks.”
The publication has questioned the merit of Abdel-Fattah’s application and the awarding of the grant to her, considering that “five out of six applicants… miss out on money.”
How Nutella’s space stunt delivered a viral spike most campaigns can’t buy
It was an out-of-this-world moment most brands can only dream of.
A jar of Nutella managed to take the spotlight from the crew of NASA’s Artemis II spacecraft, after footage showed the chocolate-hazelnut spread floating in zero gravity.
The clip quickly circulated across social platforms, with users pointing to the unexpected cameo as a case study in high-impact, organic brand exposure.
Ferrero was quick to capitalise on the moment, sharing the footage to X with the caption: “Honored (sic) to have traveled (sic) further than any spread in history Taking spreading smiles to new heights .”
The brand’s local PR push followed just as swiftly. Michael Lindsey, president and chief business officer at Ferrero North America, told Mediaweek the company was “over the moon that the world’s best space explorers chose the world’s best spread.”
— Trung Phan (@TrungTPhan) April 6, 2026
Spike in attention
The exposure translated into a sharp lift in online conversation.
According to AdAge, Nutella recorded a 516% increase in brand mentions above the daily average following the moment.
Data from Sprout Social also showed mentions surged 910% between 6 April and 7 April, compared to the previous two-day period.
A viral win, with a caveat
Back on Earth, creative experts told Mediaweek the moment represents a clear marketing win, but cautioned against brands attempting to replicate viral moments without context.
While the Nutella cameo underscores the value of cultural cut-through, they noted that not every unexpected spike in attention translates into long-term brand equity.
Monique Chirgwin
Monique Chirgwin, Senior Creative Connections Director, UM Australia
“The image of a Nutella jar floating aboard Artemis II is a marketing masterstroke. It’s not the result of a colossal budget or months of strategic planning, but a unique moment in history ignited by a perfect, playful tagline. It shows how a brand, when it’s quick-witted and culturally clued in, can turn an iconic moment into an enduring image.
“In an era saturated by highly polished campaigns, this kind of organic simplicity is golden. Consumers are increasingly drawn to content that feels timely and real, and that taps into shared cultural moments.
“By staying alert and adaptable, brands can cut through the constant noise and foster a far stronger, more meaningful relationship with their audience.
“It’s a powerful reminder that sometimes the best campaigns aren’t planned, they’re seized.”
Nate Vella
Nate Vella, Head of Strategy, Bench Media
“When a moment like this happens, the first thing a brand needs to do is notice it. Culture moves fast, and if you don’t pay attention, the opportunity can pass before you even realise it.
“Nutella’s floating jar shows that when a brand responds quickly and naturally, it can create awareness, conversation, and cultural relevance in a way no paid campaign could ever buy.
“The next step is thinking carefully about whether it fits your brand and what the response should be. It doesn’t have to be complicated, but it does need to feel genuine and relevant. Humour, cleverness, or a simple human reaction can help if it suits your tone.
“Not every viral moment is worth chasing, but ignoring one that aligns with your brand can be a bigger missed opportunity than trying and getting it slightly wrong. The brands that succeed are ready and willing to step in when the world is watching.”
ABC ends diversity group memberships after independent review
The ABC will end its memberships with ACON’s Pride in Diversity program, the Australian Disability Network, and the Diversity Council of Australia after an internal review of its external partnerships.
According to The Guardian, the decision was outlined in an internal staff newsletter and marks an early reset under managing director Hugh Marks, who took over the role in March 2025.
Why is the ABC ending these partnerships?
In a statement to The Guardian, an ABC spokesperson said a review of workplace partnerships had confirmed the broadcaster was meeting its editorial independence and impartiality obligations.
“We will always invest in these fundamental principles,” the spokesperson said. “The ABC remains committed to diversity and inclusion and will redirect funding to internal initiatives.”
The internal communication, as reported by The Guardian, said the partnerships were “no longer providing sufficient value” to the organisation. ABC management is also reviewing other partnerships and sponsorships to ensure its standards of independence are maintained.
Long-running scrutiny over ACON relationship
The ABC’s relationship with ACON has faced scrutiny for several years because the broadcaster paid membership fees while also being assessed through the Australian Workplace Equality Index.
The Guardian reported the ABC was paying at least $12,000 a year to ACON. The issue drew wider attention after Media Watch raised possible conflict concerns in October 2022.
That scrutiny intensified in Senate estimates, where Coalition senators questioned whether participation in benchmarking and awards programs run by advocacy groups could create a perception problem for a public broadcaster.
Under the index, the ABC reportedly received points for specific editorial content, including the trans-themed series First Day and podcast Innies and Outies. The Guardian also reported that freedom-of-information documents obtained by the campaign group ACON Exposed showed that ACON relationship managers had offered editorial guidance to ABC staff.
What ACON said
An ACON spokesperson told The Guardian the organisation works with a range of employers seeking to better engage LGBTQ+ communities and build more inclusive workplaces.
“We do not seek to, nor do we have, any influence over the way media outlets, who are members of Pride in Diversity, report issues, including the ABC,” the spokesperson said.
A broader editorial and political issue
The memberships had become a political flashpoint because they sat at the intersection of workplace inclusion programs and editorial independence.
The move is expected to remove a recurring source of pressure for the broadcaster, which has also faced criticism in recent years over aspects of its coverage of gender-related issues.
The decision also follows international precedent. The BBC withdrew from the UK’s Stonewall diversity scheme in 2021 amid concerns about protecting its reputation for impartiality.
McDonalds CEO's advice for how to eat on camera
A clip of McDonalds CEO Christopher Kempczinski forcing himself to eat a Big Arch burger went viral on TikTok in February. Now, the CEO has spoken to the Wall Street Journal about the moment that saw him savagely mocked world wide.
In the new video, Kempczinski joins journalist Tim Higgins in a Maccas kitchen, sharing some chicken nuggets.
When asked if he has any advice to share for how to eat on camera, he good-naturedly responds.
“Well I’d say the biggest thing is just dive right in, so I’m looking forward to taking a nice bite out of this chicken nugget,” he says, gingerly moving a nugget to his mouth.
As he takes the plunge with a small bite, he unconvincingly says, “Mmm.”
Unfortunately, he looks no less reluctant to eat “the product” – as he called the Big Arch repeatedly in the first video – than he did previously, once again confirming he never, ever eats at Maccas.
Higgins notes it’s “weird” to watch each other eat, and Kempczinski laughingly responds, “Well, imagine how I felt.”
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Viral McDonalds CEO video
The clip of Kempczinski eating a Big Arch burger went viral on TikTok when it was spotted by musician and comedian Garron Noone.
“I’ve just seen a video of the McDonald’s CEO eating McDonald’s, and it’s probably the funniest f**king thing I’ve ever seen in my,” Noone says in a stitched clip.
The vision behind him is that of Kempczinski – a very neat and conservatively dressed man, sitting in front of a McDonald’s meal. “The Big Arch,” the CEO announces, proudly holding up the burger.
“This is something we have tested already – in Germany, Portugal, Canada.”
Noone ‘translates’: “We’ve tested it on the Germans and the Canadians, and now we believe it may even be fit for human consumption.”
McDonalds CEO tries a burger in viral clip. Image: TikTok
Kempczinski keeps referring to the meal as a “product” rather than a meal, leading Noone to surmise, “This man does not eat McDonalds. He looks like he would read the ingredients on the back of a banana.”
The well-intentioned CEO has obviously been asked by his social media department to film this taste test, and really, they should consider paying an actor next time.
As Noone says, watching Kempczinski fumble “the product” to get it into his mouth, “This man doesn’t even know how to fuc**g hold a burger, why did you let him on without any practice? He’d be less uncomfortable if he were holding the fu***g nuclear codes.”
We can’t show you Noone’s clip because it contains perhaps 50% profanity (from him, not the CEO). But here is a clip of the CEO insisting he consumes Maccas three times a week – which is only slightly less funny without Noone’s commentary:
@mcdonalds_corp Our #CEO is answering one of his most frequently asked questions. 👀 If you worked at #McDonalds, how often would you eat your favorite #menu ♬ original sound – McDonald’s Corporate
Top image: McDonalds CEO on Instagram
OMA announces finalists for 2026 Industry Awards
The Outdoor Media Association has announced the finalists for the 2026 OMA Industry Awards, with nominees drawn from across Australia’s out-of-home sector, including oOh!media, QMS, JCDecaux, VMO and Bishopp.
Now in its 18th year, the awards recognise individuals, teams and organisations contributing to the development of the OOH industry. Winners will be announced at a gala event at W Sydney on 7 May, following the 2026 OMA Industry Conference.
This year’s finalists have been selected across six categories: Emerging Leader, Excellence in Field Work and WHS, Excellence in Innovation, Excellence in Design and Construction, Outstanding Service and Rising Star.
The Emerging Leader category includes nominees from Bishopp, GoTransit, JCDecaux, oOh!media, QMS and VMO, reflecting a mix of agency, sales and product roles.
Excellence in Field Work and WHS recognises operational and safety contributions, with finalists from GoTransit, Hanlon Industries, JCDecaux, QMS and VMO.
Focus on innovation and operations
The Excellence in Innovation category includes nominees from Big Screen Video, oOh!media and QMS, with roles spanning ESG, product development and creative strategy.
Meanwhile, the Excellence in Design and Construction category highlights teams and projects across JCDecaux, oOh!media, POA, Vicinity Centres and VMO, recognising large-scale installations and asset development.
The Outstanding Service category recognises individuals with more than 10 years’ contribution to the industry, with finalists representing companies including Big Screen Video, Broadsign, JCDecaux, oOh!media, QMS, POA and Multicultural Outdoor.
The Rising Star category recognises early-career professionals with five years’ experience or less, with finalists drawn from Bishopp, GoTransit, Hanlon Industries, JCDecaux, oOh!media, QMS and VMO.
Two individuals will also be inducted into the OMA Hall of Fame, recognising long-term contributions to the Australian OOH industry.
Finalists
Emerging Leader
Alison Powell, Head of Agency, Bishopp
Aidan Price, Group Sales Director – Agency, GoTransit
Adele Rose, Group Manager – Audience & Data Products, JCDecaux
Fleur Barlow, Group Manager – Product Strategy & Brand, JCDecaux
Cassandra Nott-Want, Senior Commercial Manager QLD, oOh!media
Gabrielle Rich, Group Business Director – Direct & Boutique Agencies, oOh!media
Nick Crowe, VIC Sales Director – Independent & Direct, QMS
Toyah McMillan, Group Sales Manager, VMO
Excellence in Field Work & WHS
Paige Cockbain, Operations Manager, GoTransit
Sujith Reddy, Project Manager – OOH, Hanlon Industries
Gavin Lampe, Assets Manager, JCDecaux
Neini Tuipulotu, Field Service Manager, QMS
Raphael Owen, Director of Digital Solutions, VMO
Excellence in Innovation
Krystal Dukas, Chief People and ESG Officer, Big Screen Video
Alex Rog, POLY Strategy & Creative Director, oOh!media
Nick Neville, Head of Product Development, oOh!media
Fabian Mora, Lead 3D Designer, QMS
Tennille Burt, Chief Marketing Officer, QMS
Excellence in Design & Construction
Sydney Airport Development, Oliver Smith (Commercial Director), JCDecaux
Product Development Team, oOh!media
POA Operations Team, Declan Carnes (Chief Operations Officer), POA
The Emporium Melbourne, Steve Tuite (Project Officer) & Sara Lappage (Chief Operating Officer), Vicinity Centres & QMS
VMO Operations Team, VMO
Outstanding Service
Brett Delaney, CEO, Big Screen Video
Paul Ellery, CEO, Big Screen Video
Ben Allman, VP – Platform Sales, Broadsign
Goran Tosevski, National Technical Services Manager, JCDecaux
Ronnie Navani, Founder/CEO, Multicultural Outdoor
David Lovatt, Planning & Development Director, oOh!media
Ivan Gridchin, Head of Sales Enablement & Product Operations, oOh!media
Kelly Ainley, Network Operations & Assets Performance Director, oOh!media
Michael Overington, State Operative Leader, oOh!media
Mitch James, CEO, POA
Geoff Noonan, General Manager – QLD, QMS
Tim Murphy, Chief Sales Officer, QMS
Rising Star
Nellie Thomas, Senior Sales Coordinator, Bishopp
Brooke Hindmarsh, Marketing Lead, GoTransit
Ben Lloyd, Project Manager, Hanlon Industries
Chang Weng, Data Operations Manager, JCDecaux
Gustav Houston, Account Manager, JCDecaux
Jessica Allan, Client Strategy Specialist, JCDecaux
Jorjha Unwin Vickery, Senior Business Manager, oOh!media
Malcolm Bennett, Senior Business Manager, oOh!media
Natalya Gonsalves, Business Executive, oOh!media
Oliver Castle, Business Manager – International, oOh!media
Tiana Passelli, Campaign Executive, oOh!media
Tyler Claassen, Senior Business Manager, oOh!media
Ruby Meers, Creative Strategist, oOh!media
Izi Bird, Account Manager, QMS
Jimmy Biddulph, Senior Account Manager, QMS
Whitney Portwine, Account Manager, QMS
Caitlyn Deeble, Account Manager, VMO
Rhianna Heatley, Senior Account Manager, VMO
VMO taps Georgia Cerutti as NSW Sales Director
VMO has appointed Georgia Cerutti as NSW Sales Director, further strengthening its leadership team.
Cerutti joins VMO after nearly five years at Val Morgan Cinema, where she held several senior roles, including Group Sales Manager and Acting NSW Sales Director.
Prior to her time at Val Morgan Cinema, Cerutti spent four years with JCDecaux across Melbourne and Sydney as an Account Manager, building experience across the outdoor sector.
Across her career, she has established herself as a respected leader and mentor within both Val Morgan and the broader media industry.
Driving NSW growth
VMO Australia and New Zealand Sales Director Geoff Cochrane said Cerutti’s experience across cinema and out-of-home made her a strong fit for the role.
“We’re thrilled to have Georgia step into the role of leading our NSW sales team… paired with her experience across outdoor, makes her the perfect person to continue driving our growth trajectory,” he said.
Cerutti comments
Cerutti said she was excited to step into the role and return to the outdoor sector.
“I am so grateful for all of the opportunities I have been afforded at Val Morgan and couldn’t be more excited to step into the role of NSW Sales Director, rejoining the world of outdoor after nearly five years in the cinema team,” she said.
“This business has so many unbelievably talented people that I feel fortunate enough to work alongside and learn from.”
The appointment is effective immediately.
Main image: Georgia Cerutti
Backlash over Dezi Freeman tribute song
An AI-generated song honouring the now-deceased, former fugitive, cop-killer Dezi Freeman has been listed on music streaming platforms.
The Ghost of Mount Buffalo was released on Spotify, Apple Music and SoundCloud last year, and has resurfaced following last week’s fatal shoot-out with police, after Freeman evaded capture for more than seven months.
Freeman went into hiding after murdering two police officers in Victoria’s High Country in August 2025.
The song’s disturbing lyrics read in part:
“Two good cops fell and the papers all lied. Called him a monster while the innocents died.
“They wanted a corpse for the 6 o’clock news. Instead they got smoke and a legend that grew.
“So run, Dezi, run, let the black cockatoos cry. Let them search every cave till the day that they die.”
Song tribute to Dezi Freeman
The Ghost of Mount Buffalo was generated by Queensland man Keith Wilkins, whose user name is “Staying Alive”, on Triple J’s Unearthed site.
Keith Wilkins’ creator profile on Triple J’s Unearthed. Image: Triple J
Hi profile reads: “Staying Alive is the voice of modern rebellion — an Australian songwriter and truth-teller blending folk grit, spoken-word fire, and raw protest energy. From acoustic anthems to cinematic storytelling, each track challenges the narratives that keep people silent, sick, or asleep.
“A veteran of life and survival, Keith Wilkins turns hard-earned wisdom into rhythm and rhyme, pushing back against corruption, control, and cultural decay. His mission: awaken hearts, spark courage, and remind the world that freedom still has a soundtrack.”
The Herald Sun reports the song has thousands of views – with some viewers leaving supportive comments, calling Freeman a “sovereign citizen”.
But overwhelmingly, the commenters accuse the artist – and the music streaming platforms – of “glorifying” a murderer.
“Dezi was no hero, just a murderer who blamed his problems on other people,” is just one example of the disapproval amongst the many negative social media comments.
Freeman was 56 when he fatally shot two officers and injured a third as they attempted to execute a warrant at a property in Porepunkah.
Top image: Dezi Freeman. Image: YouTube
MFA reveals top marketers as Signature Judges for 2026 Awards
Media Federation of Australia (MFA) has unveiled its Signature Judges for the 2026 MFA Awards, locking in a senior lineup of marketers to lead the judging process.
The appointments reinforce the Awards’ positioning as a benchmark for media effectiveness, with the panel bringing a strong client-side perspective to the evaluation of work.
Senior marketers take the lead
This year’s Signature Judges include senior leaders from major brands across retail, finance, tech and FMCG:
• Kate Bailey, GM Brand, Digital & Media, Coles
• Anneliese Douglass, Director Marketing & Communications, Nestlé
• Naysla Edwards, VP Customer Marketing & Member Experience, American Express ANZ
• Mim Haysom, EGM Brand & Customer Experience, Suncorp
• Megan Henderson, Global Head of Marketing, Flight Centre
• Michelle Klein, Chief Marketing Officer, Westpac
• Joe Lunn, International Head of Media, Uber
• Suzana Ristevski, Chief Marketing Officer, Google ANZ
• Sarah Sorrenson, Global Media Director, Diageo
The Signature Judges will lead a broader judging cohort of more than 100 industry professionals spanning agencies, media owners and technology companies.
Focus on effectiveness
The MFA said the Signature Judges play a key role in ensuring awarded work demonstrates real business impact and measurable outcomes.
The judging process includes independent auditing, strict conflict management and blind voting, maintaining a strong focus on effectiveness and media contribution.
MFA Awards Co-Chairs Catherine Rushton and Chris Colter said the calibre of judges reflects the growing ambition of the Awards.
“The MFA Awards continue to raise the bar for what great looks like in media – and that starts with the people in the judging room,” they said.
Naysla Edwards, Amex Vice President of Brand, Customer Marketing and Member Experience, said: “As a marketer, this role is an immense honour and a chance to contribute to the marketing industry that has given me so much. It allows me to ensure the most innovative campaigns receive the recognition they deserve and for everyone in the industry to learn from them.”
What makes a winning entry
American Express ANZ’s Naysla Edwards said winning work must go beyond meeting criteria.
“A winning entry goes beyond meeting criteria; it demonstrates creativity, innovation, and measurable results,” she said.
Entries for the 2026 MFA Awards are now open, with early bird submissions due by 21 April and final entries closing on 5 May.
The Awards are open to the entire industry, including MFA members, non-member agencies, clients and media owners. The winners will be announced at a black-tie gala dinner on 24 September at Randwick Racecourse.
The 2026 MFA Awards are supported by a range of industry partners, including Grand Prix sponsor Seven, alongside Platinum sponsors Meta, Reddit and SBS.
Main image: Media Federation of Australia
Optus and Droga5 urge audiences to ‘put down your phone’ in new cinema campaign
Optus has partnered with Droga5 ANZ to launch a new cinema campaign encouraging audiences to put down their phones and engage fully with the big screen.
Created by Droga5 ANZ, part of Accenture Song, the campaign marks the agency’s first film work for Optus since it was appointed the lead creative agency in 2025.
Rethinking the cinema message
Titled “Put down your phone,” the campaign reframes the traditional pre-movie announcement by shifting the focus from audience etiquette to the effort behind filmmaking.
Rather than simply asking viewers to switch off their phones out of respect for others, the campaign highlights the sweat, sacrifice and craft that goes into making films.
A twist on storytelling
Directed by Andreas Nilsson from Revolver, the campaign features two spots, Abe and Again.
Each film initially presents as a high-production cinematic story before revealing itself as a humorous tribute to the behind-the-scenes effort of filmmaking – from method acting to boom operation.
National rollout
The campaign premiered in cinemas across Australia from 2 April, supported by media strategy from Accenture Song.
Optus Acting Chief Marketing Officer Lauren Dawber said the campaign aims to make a familiar message more meaningful.
“We saw an opportunity to make the age-old ‘turn off your phone’ announcement something more meaningful… inviting audiences to give great films the attention they deserve,” she said.
Celebrating the craft
Droga5 ANZ Chief Creative Officer Barbara Humphries said the work is a tribute to the filmmaking process.
“Filmmaking is a wonderfully obsessive craft… we wanted to celebrate that passion and persistence and remind audiences that the best way to respect it is simply to look up and watch,” she said.
Credits
Client: Optus
Chief Marketing Officer: Lauren Dawber
Senior Manager, Brand: Vaness Burr
Associate Director, Brand: David Hustwit
Creative Agency: Droga5 ANZ, part of Accenture Song
ANZ Marketing Practice Lead, CEO of Droga5 ANZ: Matt Michael
Chief Creative Officer: Barbara Humphries & Damon Stapleton
Principal Director: Kezia Quinn
Creative Directors: Thomas Gledhill & Lennie Galloway
Creatives: Herman Ulberg and James Greig
Head of Strategy: Ben De Castella
Group Business Director: Samar Karim
Senior Business Manager: Indivar Kumar
National Head of Production: Romanca Mundrea
Head of Production: Penny Brown
Senior Producer: Kaija Wall
Production Company: Revolver
Director: Andreas Nilsson
Managing Director / Co-owner: Michael Richie
Executive Producer / Partner: Pip Smart
Executive Producer / Producer: Caroline Kruck
Director of Photography: Stefan Duscio
Post Production Company: The Editors
Editor: Alexandre de Franceschi
Finish: Soren Dyne
Audio Production & Music Supervision: Sonar Music
Sound Designer: Andy Stewart
Media Agency: Accenture Song Media
Main image: Droga5 ANZ
Oscars lock in 2027 and 2028 dates as YouTube takeover looms
The Academy of Motion Picture Arts and Sciences has confirmed dates for the 99th and 100th Academy Awards, marking the final ceremonies to air on long-time US broadcaster ABC before the event shifts to YouTube.
The 99th Oscars will take place on Sunday, 14 March 2027, followed by the 100th ceremony on Sunday, 5 March 2028. Both will broadcast live from the Dolby Theatre at Ovation Hollywood and air in more than 200 territories globally.
For Australian audiences, the ceremony will remain on Seven and 7plus through to 2028 under its existing deal with Disney Entertainment.
Final stretch for ABC as streaming era begins
The 2027 and 2028 ceremonies will be the last under ABC’s tenure, ending a partnership that dates back to 1976.
From 2029, YouTube will take over global rights in a deal that runs through 2033, with the platform set to stream the Oscars live and free worldwide.
The agreement extends beyond the main event to include additional Academy programming, including the Governors Awards, nomination announcements, nominee events, Student Academy Awards, and behind-the-scenes content.
The Academy has also confirmed that the ceremony will relocate from the Dolby Theatre to the Peacock Theatre starting in 2029, where it will remain through 2039.
A still from this year’s Best Picture winner, ‘One Battle After Another’.
Australian broadcast locked in on Seven
Locally, Seven has secured exclusive rights through to the centennial ceremony in 2028, ensuring the Oscars remain on free-to-air and BVOD for Australian audiences in the near term.
The deal covers 2026, 2027, and the milestone 100th ceremony, maintaining continuity for advertisers and viewers despite the global shift to streaming.
Ratings dip ahead of milestone year
The most recent Oscars telecast drew 17.86 million viewers across ABC and Hulu, down 9% from the previous year’s 19.7 million, which had marked a five-year high.
The upcoming awards cycle is expected to be bolstered by a strong slate of contenders, including Project Hail Mary, Dune: Part Three and Digger.
A host for the 2027 and 2028 ceremonies has yet to be announced.