Tom Sermanni- Leading the Matildas in the Right Direction

In September 2024, former Matilda’s and journeyman coach, Tom Sermanni, was quietly going about his business coaching in the women’s program at Western Sydney Wanderers.

The last thing he expected was to receive an offer from the F.A. to become the interim manager for the Matildas.

However, Sermanni reflected on his previous stints with the Matildas from 1994-97 and 2005-12 with a great sense of pride and didn’t hesitate to accept the offer.

After five months in the job, Sermanni and assistant coach Jean-Paul de Marigny have methodically restored confidence in the squad after the disappointment of not qualifying for the quarter finals at the Paris Olympics.

It was certainly a far cry from Sermanni’s previous stints in 1994-97 when players weren’t paid and had to cover their own expenses and 2005-12 when contracts were introduced for the players.

Notably, Sermanni is aware of the strong brand the Matildas carry in Australian sport and every time they venture onto the pitch, there is a weight of expectation for them to perform.

In this interview with Roger Sleeman, Tom Sermanni discusses his progress with the Matildas since September 2024 and the general state of the women’s game in Australia.

ROGER SLEEMAN

What was your mindset when you were offered the job after your last stint with the Matildas in 2005-12?

TOM SERMANNI

Surprise was my first reaction as it came completely out of the blue

I’d actually reached the stage where I wasn’t searching for a career but winding down.

However, it was a compliment to be still considered for coaching at this level.

R.S.

How long did it take you to accept the offer?

T.S.

Only a few minutes because it was a no brainer after I contemplated what was involved.

Photo: Kyoko Kurihara – Football Australia

R.S.

Based on the Matilda’s performance at the Paris Olympics, what areas were you going to concentrate on?

T.S.

I was actually at the U.S.A. and Zambia games which was useful and I also knew a number of players in the squad.

Initially, I wanted to maintain stability because when a tournament doesn’t yield results, there are inquisitions and uncertainty.

Therefore, the lack of confidence had to be restored.

R.S.

What has been your main focus since you commenced the position?

T.S.

When we first assembled for the first match in Switzerland, I outlined the expectations for the team and myself.

I wanted to get back to the way Australian teams play on the front foot and to reassure the players there was a lot of ability in the squad , despite the disappointment of the Olympic’s result.

We needed to establish goals for the players to achieve and winning was critical.

Rebuilding belief, confidence and spirit was essential to achieving this outcome.

R.S.

What were your conclusions after the Switzerland and German clashes in October?

T.S.

There were signs of missing confidence and cohesion in the Swiss clash but against Germany it was a great 2-1 victory and defied our 15th ranking in the world standings.

R.S.

Against Brazil, how did you rate the team’s performance?

T.S.

Both games were probably the most brutally physical I’d ever witnessed in the women’s game.

Also ,the Brazilians were very direct and unfortunately in the first game in Brisbane, the referee didn’t control the game well enough.

In the second game on the Gold Coast this was rectified somewhat .

Critically, the games were a great benchmark to assess our status with the top five teams in the world.

R.S.

Are we technically adept to match the top teams?

T.S.

If you look at Caitlin Foord, Steph Catley, Mary Fowler and Kyra- Cooney Cross, we have players who rate technically with the best.

Also, we have players spread across the best Leagues in the world.

Nevertheless, at the development level we need to advance players at a technical level, rather than implementing systems which restrict individual development.

Photo: Kyoko Kurihara – Football Australia

R.S.

Are the senior players performing to their best?

T.S.

I believe in the matches so far they have and are still our most consistent performers.

Don’t forget, despite the Paris Olympics failure, we did qualify for the semi finals of the previous Olympics and the 2023 World Cup.

R.S.

Is it time to blood young players in the squad, and what is your general opinion of the talent scouting process employed to unearth new players?

T.S.

If I’d come in as a new coach for the next campaign, rather than an interim coach, things may have been different.

I emphasise again my role is to instigate stability in an effective way and my successor in a permanent role will decide where the squad will go forward from there.

For me , the role is to plan for the present and the future so it’s a balancing act.

In the modern game it’s difficult because you don’t get enough time with the players who are mainly based overseas.

This is in contrast with my last stint with the Matildas when most of the players were home based so we had complete access to them for local camps .

Importantly, this allowed us to develop players within the team structure.

It’s getting harder to bring in new players because of the time limits you have to work with them.

Obviously, you’re continuing to strengthen your squad by bringing new players in but moving forward the new coach has to reassess the current squad and also be mindful of other players to be given an opportunity to see if they are better than the current players.

Naturally, there will be a turnover of the squad due to ageing of senior players so we have to provide a better way of bringing younger players through.

With the huge increase in playing numbers in women’s football , there should be a lot of new talent coming through the system to be considered for Matilda selection.

Unfortunately ,there hasn’t been an organised plan since the Institutes fell by the wayside and resources aren’t being committed to a cohesive system.

R.S.

How important is Mary Fowler to the squad?

T.S

She is critical because she has that X-factor and those qualities to become a superstar.

Some of the senior players are now at their peak in their late twenties and Mary in her early twenties has the world at her feet to become a world class player.

Along with Ellie Carpenter whose workrate and football awareness are phenomenal, it should be our aim to continue unearthing such talent in the W- League.

R.S.

What is your opinion of the A-League Women?

T.S.

Unfortunately, it’s not fully professional and it needs more resources to make it the best league it can be because at the moment it’s a development league for domestic players.

However, we need as many young players to be competing in the League and over time it would be ideal for overseas players to come back to the League to contribute to its progress.

However, the League is certainly a great place for supplying national youth team players.

Photo: Kyoko Kurihara – Football Australia

R.S.

Can you tell us more about the She Believes Cup, the Matildas are competing in the U.S. from February 19-27 against U.S.A., Japan and Colombia?

T.S.

It’s a proper, competitive tournament, not a series of friendlies so there is a great incentive to win.

We play the first game and then travel to two other cities to play so there’s limited time for preparation.

Clearly, it’s an important tournament to play serious opposition with different styles on show and for players to maintain their place or for new players to emerge.

R.S.

After your interim role ends, would you like to be still involved with the Matildas in some way?

T.S.

If there was a role for me which was suitable I certainly would take it because I’m really enjoying the current position.

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Netflix’s Women’s World Cup deal puts IMG’s technology in the spotlight

Netflix’s first exclusive football deal will see the next year’s FIFA Women’s World Cup at the centre of it’s live-sport strategy. The US-streaming service company has appointed IMG as its production partner for all 64 matches in Brazil, as well as more than 100 hours of live studio programming. The deal includes English and Spanish coverage for viewers within the US, and English and French-language coverage for those in Canada. IMG will also support Netflix’s coverage of the tournament’s draw in December.

The 2027 Women’s World Cup runs from June 24 to July 25 across eight host cities, and will be the first edition to feature 32 teams. The scale of the tournament makes it an ambitious first foray into sports broadcasting for Netflix – which means IMG’s involvement will be of great significance.

IMG’s production engine

IMG has built its reputation on producing and distributing live sport at scale. It’s Stockley Park, London facility includes broadcast studios, production galleries, edit suites and facilities for radio, podcasting, dubbing and visual effects. The company has worked across major properties including the Premier League, Major League Soccer and other international sporting events.

For a World Cup, this infrastructure provides more than a place to make television; it creates a central point where production teams can manage feeds, graphics, replays, commentary, editing and distribution while events are taking place thousands of kilometres away.

Remote production is the key

The most important technology for a tournament spread across eight Brazilian cities is connectivity. IMG has invested in remote-production workflows that allow production teams to work across locations, rather than putting every specialist inside each stadium. Its wider production operation has used fibre, satellite, cloud and IP-based connectivity to move live signals between venues and production centres.

That model can reduce the amount of equipment and specialist staff required at every venue while allowing senior producers, directors, replay operators and graphics teams to work from centralised facilities. IMG has also demonstrated long-distance IP production, including a 20,000-kilometre link between Tokyo and London that carried uncompressed, low-latency video. For Netflix, those capabilities are particularly relevant. The platform is building a single viewing experience for audiences in two markets, but the raw ingredients will come from stadiums spread across Brazil. A resilient network becomes just as important as the cameras themselves.

From stadium to stream

The technology chain does not end when the pictures leave the venue. A modern sports production operation has to manage ingest, replay, media asset management, graphics, audio, quality control, archiving and transmission. IMG’s facilities have been built around those workflows, with master control and transmission capabilities alongside post-production and archive operations.

That infrastructure also gives IMG the ability to turn the live tournament into a wider stream of content. A goal can become a replay, a highlight, a social clip or part of a studio package without waiting for the match to finish. For Netflix, that fits a platform built around on-demand discovery as much as live viewing.

A new test for Netflix

Netflix has already made a significant investment in football through documentaries and other programming. The 2027 Women’s World Cup takes it up a level. FIFA describes the agreement as the first competition Netflix has acquired in full, making the tournament a major test of its live sports operation. IMG therefore has a job that goes beyond producing 64 matches; it must help Netflix build the technical backbone for a month-long, multi-venue broadcast, while maintaining consistent production standards across languages and locations.

The viewer may simply press play and see a World Cup match appear instantly. Behind that button will be a complex network of cameras, connectivity, control rooms, production systems, people and data. That is the real significance of Netflix’s IMG deal: the streamer is bringing the tournament to its platform, but IMG is providing much of the machinery that can make a global football event feel seamless.

Melbourne Victory and BYD drive innovation through new major partnership

Melbourne Victory has officially welcomed BYD as a Major Partner and the Club’s exclusive Motor Vehicle Supplier for the next 12 months. At a partner launch bringing together the two organisations, the focus is on building around innovation, growth and a drive for success. The partnership will place BYD at the centre of Melbourne Victory’s fan experience. The brand will feature on the front of both the A-League men’s and women’s home and away jerseys. This gives BYD a strong presence across matchdays, broadcasts and digital content throughout the season.

The partnership extends well beyond the playing kit. BYD will be integrated across Melbourne Victory’s media, Academy and community assets. The two organisations will also collaborate through Member and pathways programs. This creates opportunities for BYD to connect with Victory supporters across multiple touchpoints.

For BYD, the partnership provides a direct connection with Melbourne Victory’s growing supporter and member base. The automotive brand has built a rapidly expanding presence in Australia and New Zealand. Its partnership with Victory provides another platform to build awareness and engage with Australian consumers. BYD Australia Chief Operating Officer Stephen Collins said the alignment between the two organisations was a key factor behind the deal.

“At BYD we’re enormously excited to welcome the Melbourne Victory into the BYD family as an exclusive automotive partner,” Collins said.

“What really appeals to us was the culture of innovation and the hunger for success.”

That alignment is reflected in the way the partnership will operate. BYD will not simply appear on Melbourne Victory assets. The brand will be connected to the Club’s members, fans, business network, pathways and community programs. Melbourne Victory Managing Director Caroline Carnegie said the partnership reflects a shared ambition for continued growth. She also highlighted the organisations’ common focus on leading, connecting and inspiring their communities. Together, Melbourne Victory and BYD will bring the partnership to life across matchdays, media, community initiatives and supporter experiences throughout the 2026-27 season.

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