Selfridges has appointed digital agency Steak to manage paid search and PLA activity across desktop, tablet and mobile.
Brand campaigns will be re-launched using Google’s new Enhanced Campaigns tools and will focus on attracting new customer from non-brand searches. The agency will utilise Ad Extensions, Google shopping search, remarketing and new AdWords betas as they become available.
CEO of Steak, Oliver Bishop, said he was “thrilled” to be working with Selfridges.
Online department store Littlewoods is to debut its £1.3m childrenswear campaign during tonight’s Emmerdale on ITV1.
The advert focuses on the much-loved Ladybird brand, which was acquired by Littlewoods parent company Shop Direct in 2009.
Created by retained agency St Luke’s and directed by Karen Cunningham the campaign continues the ‘Littlewoods touch’ concept introduced last year and features a mini version of brand ambassador Myleene Klass. Set to the soundtrack of ‘Abracadabra’ by the Steve Miller Band, mini-Myleene performs outfit transformations on her friends at a children’s party by blowing bubbles and playing pass the parcel.
The 30” TV ad will be supported by 10” executions and print ads promoting weekly trading offers. The campaign, which was planned and booked by Carat, will run throughout August across TV, online, social media and print.
Gary Kibble, retail director for Littlewoods, commented: “The Ladybird brand is one of our growing stable of own brand fashion labels and a brand that parents across the UK have known and loved for decades. We’re now keen to bring Ladybird to a wider audience via the Littlewoods touch and this summer felt like the perfect time to start.”
The BBC has been forced to apologise after broadcasting a picture of the Prince William with a penis drawn on his head during BBC Breakfast on Thursday morning.
The clip was a snippet of a promo video for comedy quartet Babershopera and quickly sent Twitter users off in surprise.
The BBC soon apologised for the “obscene doodle” – which it said appeared “fleetingly” on screen - and a spokeswoman said: “The material was provided by Barbershopera but we failed to spot the offending material within it. We apologise for this.”
One Direction’s Louis Tomlinson has signed with Doncaster Rovers as a non-contract player in aid of Bluebell Wood Children’s Hospice in Sheffield.
The Doncaster-born singer has been given the squad number 28 for the 2013-14 season and is likely to appear for the team’s reserves, despite remaining with the chart-topping band.
In a statement on the club’s website, Tomlinson said: “This has always been a childhood dream for me. I feel very honoured to have been asked to sign for Rovers and being able to help both the club and the amazing charity Bluebell Wood is what it's all about.”
The 21-year-old has previously played for the club in a charity match in aid of the same children’s charity.
A club spokesman revealed the Rovers had high hopes that Tomlinson would appear on the pitch “at some point this season” in aid of the charity.
Chief executive of the Bluebell Wood Children’s Hospice, Claire Rintoul, commented: “Being a local lad it's great to see him giving back to the community and supporting our children with a shortened life expectancy. He's visited us now on more than one occasion and met some of our children and their families who are all so excited that he is championing our cause…it means so much to us and our children and families that he's giving his time to help us raise money and awareness.”
Media manager at Doncaster Rovers Steve Uttley added: "Louis and I organised last season’s charity game, in aid Bluebell Wood Children’s Hospice, which was a big success with over 9,000 fans attending. It was natural to follow on from that and Louis wanted more involvement to raise the profile of his home town club and Bluebell Wood. What started out as light hearted banter on text has moved on to reality, which is a great coup for the club. Our next step is to get Louis on the pitch again in a Rovers kit."
The Sun is rolling out a £10m plus ad campaign in order to promote its new digital subscription service which launched today.
Created by Grey London, the campaign will include TV and radio advertising, as well as extending to include sponsorship of Sunday Supplement on Sky Sports from 18 August.
News UK chief marketing officer, Katie Vanneck-Smith, told the Guardian: "Grey's campaign perfectly captures the Sun's characteristic humour and very clearly communicates that with Sun+ goals you'll never miss a single goal this season."
The Daily Mirror and the Daily Star have both launched campaigns hoping to grab readers off The Sun.
The Mirror is suggesting that ‘the best things in life are free’ in its campaign, while The Star is using the promoted hashtag #newsisfree.
Forest Laboratories premium tattoo aftercare brand Forever Ink has engaged creative agency Anthem to take the brand to TV for the first time.
The move into TV advertising follows on from Anthem’s work on the Forever Ink packaging in late 2012, and is part of an integrated campaign including print, web, cinema, TV, POS, social media and an app offering bespoke advice on tattoo care.
Tattoo language used in the creative is designed to drive home the wider theme that Forever Ink is the guardian of tattoos and tattoo culture.
“We see the new campaign as important for the development of Forever Ink’s brand equity as we aim to build a brand that consumers turn to for the perennial nurturing of their tattoos.
"Anthem has taken us through the whole process from the packaging of our products through to TV ads. Their creativity has shone throughout and we’re looking forward to seeing the results of the new phase of this campaign,” commented Roopa Malhotra, senior brand manager of Forever Ink.
The TV activity will run over 10 days on Box Television channels including The Box, 4Music and Kerrang! with 700 spots in total. Production of the ad involved casting over 150 people, leading to over 2500 images that formed the letters and abstractions of letters to form words.
Anthem executive creative director, Mark Ringer, added: “Our campaign aims to take Forever Ink from a niche brand to a broader audience of people with tattoos on their minds or bodies. The creative positions Forever Ink as the guardian of tattoos and tattoo culture by speaking in the language of tattoos.”
This Fallon London spot for Skoda is drawing plaudits across the the Atlantic. Adweek says it "ranks as one of the more entertaining and memorable commercials in the category so far this year."
The viewer sees various objects in a typical suburban neighbourhood that have become outrageously big and powerful: a pram that's more like a tricked-out moon-buggy; an ice-cream truck serving 2-foot-high cones; a lawnmower with eight cylinders; a jackhammer with mini-hammers to really grind up the pavement; a barbecue grill that's a cross between a UFO and a nuclear plant; and a kid's Big Wheel-type tricycle with "wildly humongous wheels".
Despite all the size and power on display, says the US mag, folks still stare open-mouthed at a dude tooling around in his high-performance Skoda Octavia vRS.
Writer David Gianastasio calls the ad "a giant crowd pleaser "and sums up,"The action manages to be self-consciously silly but never stupid, because the souped-up stuff, while outlandish and cartoony, is nonetheless cool-looking and convincing.
"The slogan, "It's not your everyday family car," is a bit weak, but I still got the message that this is one powerful Skoda, and it might just turn some heads on my boring old street. "

The BBC has confirmed that it will air a special one-off Doctor Who TV programme on Sunday (4 August) to reveal the identity of the next actor to play The Doctor.
The identity of the actor chosen to play the 12th Doctor will be revealed in a programme that will be presented by Zoe Ball and be in front of a live studio audience.
Former actors to play the role will also be present as well as companions and celebrity fans, including show runner Steven Moffat and current Doctor Matt Smith.
In a special one-off live television event on BBC One this Sunday 4th August at 7pm, the next Doctor will be exclusively revealed to the nation.
Widely regarded as one of the most hotly contested roles in British television, the show's host Zoe Ball will unveil the 12th Doctor in the first ever interview in front of a live studio audience set against the backdrop of a swirling vortex, amongst Daleks and the TARDIS.
The half hour show will include live special guests, Doctors old and new, as well as companions and celebrity fans.
Excitement will reach fever pitch as they speculate and recall their favourites, plus feature clips and moments from across the show's 50 year history.
Current Doctor Matt Smith and lead writer and executive producer Steven Moffat will both give interviews about one of the biggest roles in TV and set out just what it takes to be the Doctor.
“The decision is made and the time has come to reveal who’s taking over the TARDIS. For the last of the Time Lords, the clock is striking twelve," said Moffat.
Charlotte Moore, BBC One controller explained the decision to air a live unveiling of the next actor, saying: “BBC One is the home of big live events and this special live show is the perfect way to reveal the identity of the next Doctor and share it with the nation. The Doctor is a truly iconic role and I’m more than excited about the booking”
Ben Stephenson, controller of BBC Drama Commissioning added: “We can't wait to unveil the next Doctor with everyone live on BBC1 on Sunday night. Amongst all the speculation and betting, there has been lots of fun and intrigue at work as we've been using the codename Houdini as a decoy! It’s the biggest secret in showbiz, even those working with the new Doctor on other projects at the moment have no idea they are in the presence of the 12th incarnation.”
The show will be simulcast live on BBC America.
New figures from the Department of Transport which signal a 26 per cent rise in drink driving deaths in 2012, bucking a long-term downward trend, have been pinned on reduced funding for the highly successful THINK! campaign by the Advertising Association.
Government spending on road safety campaigns has fallen from £19m in 2008/09 to £4m in 2011/12, a cut of nearly 80 per cent.
Commenting on the statistics, Tim Lefroy, chief executive of the Advertising Association said: “Regrettably, this evidence points to tragic cause and effect. The THINK! campaign turned the tide on drink and drug driving in the UK, it was slashed in 2009 and we may now be seeing the consequences.
“THINK! is a case-study in effective behaviour change and reflects the UK’s global leadership in social marketing. These stats are a stark reminder to policy-makers that advertising can improve – and even save – lives, not just sales figures.”
The Serious Organised Crime Agency is today facing renewed calls to publish the names of over 100 firms which employed rogue private investigators after its chairman, Sir Ian Andrews, stepped down for failing to disclose that he himself owns an international investigations firm.
The revelations have piled renewed pressure on the agency to act following the intervention of deputy Prime Minister Nick Clegg yesterday, who called for the organisation to name those companies which employed investigators who used hacking to steal information.
Andrews had been the principle roadblock to publication, arguing that it could unfairly taint firms which had no knowledge of underhand behaviour and that it could breach the Human Rights Act.
Keith Vaz, chair of the home affairs select committee, said: “Clearly as head of a law enforcement agency it is important that there is full transparency and it is essential that all members of the Soca board also check their own interests.”
Attempting to explain his oversight Abndrews said: “I have no explanation other than it was both a genuine and unintentional oversight, but it is none the less inexcusable, and the responsibility is mine alone.
“Given the fact that I have failed to maintain the standard of integrity expected of the head of a public body, let alone one charged with law enforcement, I believe that I had no alternative but to offer the Home Secretary my resignation.
“I very much regret that this may damage the reputation of an agency with which I have been immensely proud to have been associated for the last four years.”
Swimwear brand Speedo and its brand ambassador US Olympic Gold medallist Michael Phelps have revealed a new online video series advocating the benefits of the swimming.
An introductory 40” ‘Get Speedo fit with Michael Phelps’ video informs viewers of the physical benefits of the sport, which apply to any age or body type, encouraging people to get into the pool and get fit themselves.
‘Get Speedo fit with Michael Phelps’ is the first in a series of six videos, which are all available on Speedo’s official YouTube channel, exploring the health benefits and positive mental attitude swimming can provide.
The videos are now being seeded in the UK, France and China by The 7th Chamber, with media being handled by S&X Media.
Virgin Media, now part of cable company Liberty Global plc, has unveiled its operational results for Q2 of 2013, revealing that customer churn improved year-on-year for seventh successive quarter.
Virgin Media reported that total subscriptions for cable services were up 169,000 to 12.2 million year-on-year; while Ti-Vo subscriptions were up 155,000.
Tom Mockridge, Virgin Media’s chief executive officer, said: “Nearly one and a half million more homes are now getting superfast broadband of 30Mb plus from us than twelve months ago. And there’s demand for even faster speeds with over 40 per cent of our new subscribers choosing 60Mb or higher in the last quarter. By doubling more than four million customers’ speeds since early last year we’ve also helped the UK shoot 14 places up the global rankings, overtaking the US, France and Germany.
“In this past year we’ve also added TiVo subscribers at an average of almost 14,000 each week and already 44 per cent of all our TV customers are paying extra for what we believe is the best way to watch television. Taking that experience onto other devices and out of the home, Virgin TV Anywhere now offers more channels to watch online than any other UK pay-TV company. Together these services are transforming how people expect to be entertained.
“The second quarter is always impacted by seasonal upturns in the housing market and the end of the academic year but this was the seventh successive quarter we’ve seen a year-on-year fall in the number of subscribers leaving. We know the addition of a mobile service meaningfully improves churn and so far around 16 per cent of our customers now take a quad-play package. The improvements we’re making to customer service are also becoming apparent as we topped the most recent Ofcom satisfaction study. This combination of extra customers and an increase in the average they’re spending with us over the year continues to drive our revenue and performance.
“In what is a competitive market, there’s clearly emerging recognition of the benefits of faster broadband and advanced television. As part of the world’s largest international cable company, we are well positioned to take advantage of these opportunities and meet the growing demand for digital.”
Due to the company joining Liberty Global, Virgin Media has said that it will not have comparable financial metrics until Q3 2014 when it will once again be able to compare like-with-like.
Guinness will interact with its customers by using a new mobile marketing innovation complete with near field communication (NFC) technology.
The new technology has been activated in the entire estate of 11,442 new Guinness founts installed across the UK, with a further 53,000 single and dual founts to be completed by 2015. In Ireland, 2,800 outlets have already been installed, with 12,155 more to be added by 2015.
Stonegate Pub Group outlets in the UK will be the first to trial the new marketing tool in 20 outlets until the end of August. Customers in the selected bars will be able to use their smartphone to enable NFC technology by tapping it against the harp on the ‘magic behind the gates’ founts to see if they have won a complimentary pint.
“Guinness is committed to using innovation to develop new marketing tools that will excite consumers and drive valuable sales for our customers. The new NFC activity is a prime example of this, and shows how we have implemented the latest technology in our founts, to keep our audience engaged whilst rewarding them with offers, vouchers competitions and content,” commented Nick Britton, marketing manager for Guinness Western Europe at Diageo.
Next generation NFC mobile commerce company Proxama’s TapPoint platform has been utilised for the activity, helping Guinness to deliver the targeted NFC campaign.
Proxama managing director, Miles Quitmann, added: “NFC technology in smartphones is starting to play a key role in how brands and consumers engage…Deploying the technology to the whole Guinness estate demonstrates how influential Diageo sees NFC in supporting mobile marketing and consumer engagement. Brands get very few opportunities to have meaningful one-to-one interactions with their consumers; NFC is changing this by allowing brands to interact with consumers that have proactively chosen to engage with them.”
It’s well documented that the attention span of the modern consumer has reduced since the days before computers. We’re living in an age of constant digital connection, with the proliferation and increased intuitiveness of smartphones meaning we remain switched on 24/7.
The impact on our psyche is debatable – but certainly it has changed our attitudes to print. With many preferring the quick fix, instant delivery of online content to consumption of a printed magazine or newspaper, publishers and brands have a challenge on their hands to ensure they engage and interest their audiences.
Technologies such as augmented reality, printed electronics and NFC are paving the way for a new type of content consumption in the digital age – and by integrating the tangibility of print with the immediacy of digital, they are injecting new life into one of the oldest mediums, allowing print to become more interactive, engaging and useful.
From Harry Potterification to relevant, engaging experiences
According to Jess Butcher, co-founder and CMO of image-recognition platform Blippar, it’s less about what she refers to as the “Harry Potterification” of newspapers and magazines, and more about the opportunity the technology offers brands and publishers to engage with audiences in ways not previously possible. This is, according to Butcher, the biggest benefit interactivity can bring to print.
“Interactivity in print invigorates the reader experience by allowing them to vote on, engage with and respond personally to the content in a way that wasn’t previously possible.
“I see this as possibly more exciting than the ‘digital bridge’ functionality – which certainly offers a value, but is it enough to drive a whole new behaviour?”
Blippar has worked with a number of publishers in the UK and US to incorporate additional content into their publications using its image-recognition technology, which overlays an image, video or gaming content over a page, or transfers users to a website. Butcher says the technology has evolved since QR codes and other “stepping stone technologies” which involved the user scanning an unattractive bar code on an article or piece of print. Because the technology works by recognising an image, Butcher argues that the power lies in “unlocking” the physical world rather than the fact content appears augmented.
Printed electronics practitioner Novalia has developed a number of concepts incorporating traditional print with electronics using conductive inks – a process that has a number of opportunities for brands once it enters production. Kate Stone, founder and MD of Novalia, argues that the future lies in integrating physical printed objects with digital, rather than technology for technology’s sake.
“People were predicting a Harry Potter style newspaper and a Minority Report style high street with flashing screens, but I believe that the future will look more like the past than the present,” Stone tells The Drum.
“People in the future will be over the futuristic. They will want a book to look like and feel like a book, but with all the technology discreetly embedded in it for people to use. It’s not about having technology in people’s faces. It’s about allowing people to have immersive, simple and intuitive experiences.”
The process involves an electronic module placed onto a page or printed product covered in conductive inks printed in the conventional method, meaning that it can be reproduced on any printer.
The result is what Stone calls a “massively enhanced user experience” that can bring posters and other printed media to life using sound and LED. One example is a drum kit poster that emits the sound of drums when touched. Depending on the version of the poster, the sound is either emitted via the user’s smartphone or tablet, or via a speaker within the poster itself.
“The technology can allow traditional print to start to approach the experience that people have with online and computers,” says Stone.
The extension of print messaging using a digital platform
Near-field communications, or NFC, is being used to bring some of the digital experience to printed media such as magazines as well as posters. Though still in its infancy, the technology was recently used by Wired magazine and Lexus to allow readers to access a demo of the Lexus app by holding their (NFC-enabled) phone up to the ad. Unlike AR apps or barcode scanning, the technology doesn’t require use of the phone’s camera and instead automatically detects the NFC chip.
Dom O’Brien, creative innovation at Isobar, explains that NFC provides that sweet spot in interactive print – the ability to bridge the gap between the physical and digital world.
“NFC enables brands to create effortless, streamlined consumer experiences where exclusive content is transferred to your phone without the need to scan a QR code or type in long web addresses. It enables print to extend its messaging onto a digital platform, delivering a more interactive experience for the consumer.”
The challenges of using NFC in mainstream print production, according to O’Brien, lie in cost and availability, with the cost of producing and programming NFC tags prohibiting the technology being used on a large scale. The fact the technology is available only on a limited number of smartphones creates another large barrier to implementation.
Changing consumer perceptions – and offering real value
The association of NFC with contactless payments is another barrier to big brand adoption, says O’Brien, who says brands have a job to do in educating people about the experience they can get from an NFC-enabled piece of communication.
“In order to move NFC beyond being used for monetary transactions, brands will need to educate people that ‘touching’ an NFC enabled message will lead to a new, desirable experience rather than just being driven directly to purchase.”
This is a point echoed by Blippar’s Butcher, who explains that brands and publishers need to educate consumers about the benefits of interactive print and what reward they will get for ‘blipping’ the page.
The other challenge for publishers and brands in creating interactive print experiences is lack of resource for content creation, says Butcher.
“Publishers are lagging behind in terms of content, and we face a cumulative challenge in working with both the advertisers and editorial teams to ensure the content is relevant and engaging for the audience.”
In November 2012, men’s lifestyle magazine ShortList used Blippar to create a fully interactive gaming issue, which included a playable front cover and interactive content throughout. Blippar recorded almost 230,000 ‘blipps’, with an average dwell time of 6.24 minutes.
Other brands and publishers making use of the technology include Maybelline, which built augmented reality into a press ad to allow users to trial 40 different colours of nail polish, and the Independent, which incorporated augmented reality into its daily editorial mix earlier this year.
Zach Leonard, managing director of digital at The Independent, tells The Drum: “Independent+, powered by Blippar, directly supports our strategy to engage our readers and users across print and online, as well as delivering valuable cross-media solutions for our commercial partners.”
Meanwhile, Canada-based Glacier Media recently rolled out augmented reality in over 10 of its local newspapers using Layar. “After rolling it out and training the sales, operational and editorial teams, augmented reality is now tightly integrated in Glacier Media’s business,” Layar co-founder Maarten Lens-Fitzgerald tells The Drum.
“All sales people have sold enhanced ads, all newspapers have editorial AR, and the publisher is making more money with AR. That’s innovation on a wide scale. And they are now rolling it out over more newspapers.”
Lens-Fitzgerald reiterates the point that behavioural change is what will drive uptake of interactive print as more consumers grow to understand its value.
“Over the next year more projects will go live that are of value to people and to the companies that launched them. People will grow to trust the fact they can hold their phone over print and get a good, useful and fun experience. It’s not about features, it’s about frictionless and meaningful usage.”
Novalia’s Kate Stone believes that the behavioural change around print in the future can be compared to the expectation people have that sinks in public bathrooms now have automatic taps, saying: “I think there will be that transition where we won’t even realise that things have changed. We’ll touch a poster and we’ll be surprised if it doesn’t do anything.”
“Things will look like they did in the past but they will have this experience embedded into them in a very subtle immersive way.”
Paper and print has always been at the forefront of learning and valuable experiences. While it may not be an obvious pairing, innovations in digital technology are starting to inspire publishers and brands who believe in the benefit of combining the two into an interactive yet tangible experience for consumers. The result is an exciting, almost limitless new era for print.
This article is published as part of The Drum's Paper & Print supplement (2 August 2013). To purchase a copy of the supplement, visit The Drum store.
RedLeg, Caribbean spiced rum infused with Jamaican vanilla, ginger and spices, has engaged brand design agency ButterflyCannon to create its brand identity and pack design.
The design aims to capture RedLeg’s laid back Caribbean spirit, an attitude shared by the brand’s friendly symbol – the red legged hermit crab – a native of the Caribbean coral reef whose scarlet legs protrude from its shell when it’s caught too much sun.
Parent company Blavod Drinks CEO, Don Goulding, commented: “We feel that ButterflyCannon interpreted our brief perfectly. We’re delighted with the end result; the packaging design alone has led to bar listings.”
RedLeg is now available globally from this month.
Hootsuite, the social media publishing and monitoring tool, has raised $165m as part of a fund raising drive geared toward product development and smaller acquisitions.
The Twitter focussed platform is employed by 41 per cent of the top 300 brands on the social media website – versus just 3 per cent of the equivalent top 300 brands on Facebook.
Now used by 7m people in over 175 countries Hootsuite is employed by leading brands such as Pepsi, Fox and Sony.
Commenting on the move Jan Rezab, co-founder of Socialbakers, said: “If Hootsuite manages to take advantage of their big & growing community of social media managers that are starting, and if they are able to innovate to grow up to the expectations of social media experts that are more advanced in their needs, they have something going.
“Obviously, this also shows investors in the likes of Accel and Insight Ventures (previously Buddy Media investors) and generally the market is very bullish about social media marketing tools, and we can probably see more activity in the space soon.”
Internet Explorer has extended its campaign, which aims to promote the service to new users, with a new video featuring inventor Eddie.
The mad inventor Eddie creates ‘products for non-IE users’.
The social campaign, created by Jam, this time sees Eddie unveil a ‘browser airbag’ to help with slow browser speeds.
Media agency Maxus has announced the appointment of Bijan White as EMEA head of digital.
White joins Maxus from OMD International, where he was digital strategy director, EMEA, working on accounts including McDonald’s Europe, Bet 365 and HTC.
In his new role, White has been tasked with developing both the company’s digital media strategy and providing an additional tier of leadership across EMEA for agency clients.
While will report into Federico De Nardis, EMEA CEO of Maxus, who said: “I am excited to have Bijan on board. We've focused on building solid digital teams in each individual market over the last few years in a constantly evolving digital media scenario. Now with Bijan’s appointment, his broad international experience will help us to deliver innovative and ground-breaking work for our clients across the region.”
White is the first person to hold the newly-created role of head of digital at Maxus.
Drum readers are still in the grips of royal baby fever if the votes for this fortnight’s Creative Round-Up, sponsored by Synergist, are anything to go by.
Both of Grey London’s entries, one for The Sun and one for The Times, have been raking in the votes as has WCRS’ Warburtons ad.
Out with Price George related ads CARTILS packaging design for Harry Bromtpons Alcoholic Ice-Tea has also had you clicking like, and Wieden+Kennedy Amsterdam’s brand identity for Coca-Cola Music is also performing well in the mid-week poll.
International entries from the likes of Columbia-based p576 for Grazia, Ho Chi Minh City’s Rice Creative’s limited edition Cointreau packaging, French designers Thomas Pomarelle and Romain Bourdieux for Cyclemon, and South African-based Jane Says branding for Café Collection Bars are receiving a lion’s share of the vote. Closer to home Stocks Taylor Bensons new packaging for Morrisons Sweets and W+K’s new ‘Love Every Mouthful’ campaign for Tesco are also gathering speed.
The vote will remain open until lunchtime on Wednesday 7 August so there’s still plenty of time to ensure your favourite makes it into the 16 August issue of The Drum as long as you cast your all-important vote.
The Drum's Creative Round-Up is sponsored by Synergist.
Discovery Enterprises International has struck a deal with British Airways which sees the Discovery Channel appear on the airline’s in-flight entertainment system, High Life entertainment.
From today passengers on BA flights will be able to watch Discovery Channel video-on-demand featuring shows such as Deadliest Catch, Wheeler Dealers and Swimming with Monsters, with new programmes added regularly.
“The strategic partnership with British Airways is an important deal for Discovery as we continue to grow our global distribution footprint by making our award winning content available to viewers on the go,” said Elliot Wagner, VP, program sales and partnerships, Discovery Enterprises International, Discovery Networks International.
British Airways inflight entertainment and technology manager, Richard D’Cruze, added: “We are delighted to add to the wealth of programmes on board, with the addition of our latest partner. The Discovery Channel is well known for producing high quality, beautiful programming, that captures adventure at its best, and we are pleased to be able to share this content with our customers.”
