One national broadcaster’s streaming destination.The Cue. Get the country to press play.
Films, premieres, a whole library. One job under all of it: the play, pressed tonight.
ERTFLIX is the streaming destination of ERT, the national public broadcaster, where it puts its films, its premieres, its series and its whole on-demand library. The job was never the platform itself. It was the marketing under it: the reason a person opens the app tonight and presses play, on this title, now. I ran the social for it inside ERT’s marketing team, in the room where the week got planned, from the read on what was landing to the post that carried it. Every title on the destination wants the same thing from the audience, the play, and that is the thing I was there to earn, at the standard a broadcaster that size sets.
- Films & premieres
- Series & drama
- Live & sport
- The on-demand library
One destination, every production the broadcaster streams. The scale is the job.
A streaming destination is not one show to sell. It is every production the broadcaster streams, all at once: the films and the premieres, the series, the live moments, the back catalogue that never closes. Each one is its own reason to open the app, its own audience, its own night. The scope is the difficulty. The job was to hold all of it and keep the destination worth opening, day after day, so that whatever a person came for, the play was already waiting.
ERTFLIX did 219 million views in 2024. ERT’s own published figure, not mine.
That is the scale of the destination I worked inside: I ran the social within the marketing team, I did not run the platform.
A destination has no nine o’clock. Nothing arrives on its own. It has to be chosen.
A broadcast channel has a nine o’clock. The night carries the audience to the screen on its own. A streaming destination has none of that. Nothing arrives at a set time, nothing pulls a person in by the schedule. Every title sits in the library waiting to be chosen, and if it is not chosen it may as well not be there. So the whole job moves upstream of the play button: the destination has no nine o’clock, so the marketing has to make one, title by title, night by night.
Three cues. Every one of them a reason to press play now.
So the work was a cue. A reason to press play now, built for what a title actually was and for the moment it could land. Every title on the destination got its own, and there were three shapes it took. Each one is a different way of turning a title in the library into a play tonight.
- 01The drop
“Now streaming.” A premiere treated as an event, not a line in a listing. Tonight it lands, and the play is the whole point.
- 02The pull
Live and time-sensitive: sport, the thing happening right now. The reason to open the destination while it is still on, not to catch up later.
- 03The resurface
The library never sleeps. A big title from the back catalogue brought to the front the moment it speaks to now, so what was already there gets found again.
A country’s streaming destination, marketed for the play, inside the team. That’s the work.
A country’s streaming destination, marketed for the play, from inside the team. That is the work. The 219 million views the destination did in 2024 are ERT’s number, the platform’s, not mine; I did not build the library and I did not run the app. What I ran was the reason to open it: the social that took a title off the shelf and turned it into a play, tonight. That is the whole of it, and it is enough.
Two surfaces of one operation.
Same team, same year. This page is the streaming destination, marketed for the play. Alongside it I ran the everyday channel: the whole linear programme, set to feed daily, on @ertofficial.
companion caseThe SlateERT’s official social, the whole programmeOpen the caseNo pitch. No deck. Just a straight read on what you’ve got.