Running under the platform “Young Macdonald Had No Farm,” the campaign challenges the conventions of Australia’s SUV category, where brands often market vehicles around rugged escapes and outdoor lifestyles despite most drivers spending their time in urban environments.

At the centre of the campaign is the question: “You don’t live on a farm, so why drive a tractor?” The line positions the ZR-V as “the perfectly city-sized SUV,” highlighting its balance of comfort, hybrid efficiency, and agility for everyday driving.

The creative is led by a hero film directed by Justin Kurzel of Revolver, which reimagines the nursery rhyme Old MacDonald Had a Farm. Set to a jazz-inspired rendition of the classic tune, the film follows a city professional through her morning routine before she drives off in the Honda ZR-V, ending with the campaign’s central message.

According to Special, the strategy was developed to differentiate the ZR-V from competitors by celebrating the reality of daily urban driving instead of aspirational weekend adventures.

Sian Binder and Lea Egan, Group Creative Directors at Special, said the SUV category had become increasingly predictable, with brands continuing to sell the fantasy of escape even though most journeys happen in cities.

Meanwhile, Eva Barrett, General Manager of Brand, Marketing and Digital at Honda Australia, said the campaign aims to build awareness for a model that remains relatively unknown despite offering a combination of SUV practicality and city-friendly performance.

The campaign also marks another step in Honda Australia’s broader brand positioning efforts as it continues to establish a more distinctive presence across its vehicle portfolio.

Launching nationally from 6 July, the campaign will roll out across film, social media, digital, audio, out-of-home, PR, and partnerships.

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Created by TBWA\Media Arts Lab Shanghai and directed by Zhang Dapeng, the campaign centers on iPhone’s App Permissions feature, using humor to explain how users can choose what information third-party apps are allowed to access.

The campaign includes a 55-second hero film, a 30-second commercial, and two 15-second animated shorts, each designed to communicate different aspects of app privacy. 

While the longer films rely on Yue’s comedic performance to make the topic more accessible, the animated videos simplify how iPhone’s permission settings allow users to grant, restrict, or revoke access to data such as photos, contacts, location, camera, and microphone.

In the hero film, a newly downloaded app is personified as a persistent character that repeatedly asks Yue for access to his personal information during everyday situations. 

The exchanges culminate in an Apple Specialist demonstrating how iPhone users can manage these permissions directly through their device settings, reinforcing the message that users remain in control of their data.

Beyond video, the campaign extends to out-of-home placements across multiple Chinese cities, as well as Apple’s official WeChat and Douyin channels, broadening its reach among privacy-conscious consumers.

The latest campaign marks the fourth consecutive year of Apple’s privacy-focused communications effort in China, continuing to position privacy as a core feature of the iPhone experience while making technical concepts more relatable through storytelling and humor.

The campaign was produced by ProFilms, with post-production by Heckler, sound by Form Studio, and music by Wu Dong Wei.

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The campaign addresses the low participation rate among an estimated 70,600 women born between 2004 and 2008 who qualify for the government’s one-off free HPV vaccination programme. 

According to the LegCo Panel on Health Services, fewer than 3% of eligible recipients had registered through Women’s Wellness Satellite government clinics as of August last year, leaving many at risk of missing the 31 July registration deadline.

Created by Omnicom Health Hong Kong, “Catch-up Now” draws on Cantonese opera as a cultural metaphor to highlight the importance of protecting one’s future. 

While traditional opera often presents its villains in plain sight, the campaign contrasts this with HPV, an invisible threat that many young women may not recognise until it is too late.

At the centre of the campaign is a film featuring Gen Z YouTuber Hiu Yan alongside Professor Hextan Ngan, convener of the HPV Prevention Alliance, and Professor Karen Chan, a trusted medical advisor. 

Set within a Cantonese opera exhibition, the conversation bridges cultural preservation with cancer prevention while encouraging young women to take proactive steps to protect themselves against HPV-related cancers.

Hiu Yan, who has experienced ovarian cancer herself, shares her personal perspective in the film, adding authenticity to conversations around prevention and the importance of acting while free vaccination remains available.

The campaign has already generated encouraging results. According to the organisations behind the initiative, vaccination sites participating in the programme have been operating close to full capacity since the campaign launched a month ago, with appointment availability throughout June and July remaining highly limited.

Katharina Reimer, CEO of the Karen Leung Foundation, said the initiative reflects the collective effort required to improve access to cervical cancer prevention.

“The Karen Leung Foundation is proud to stand alongside the HPV Prevention Alliance in supporting Hong Kong’s HPV Vaccination Catch-Up Program. Protecting girls and young women from cervical cancer is at the heart of everything we do, and this progress is only possible through a collective effort,” Reimer said.

Meanwhile, Sam Wong, Managing Director of Omnicom Health Hong Kong, said the campaign focused on helping people understand the urgency behind the vaccination programme.

“The challenge with this campaign wasn’t simply telling people to get vaccinated, but helping them understand why it matters and empowering them to act before the opportunity disappears” 

Wong added, “It’s been incredibly rewarding working with our trusted partners at Karen Leung Foundation and the HPV Prevention Alliance to make sure we created something meaningful and we’ve been overwhelmed by the positive response so far.”

The integrated campaign is running across digital channels through targeted video placements, supported by content shared on the social platforms of the HPV Prevention Alliance, the Karen Leung Foundation, and influencer Hiu Yan. 

The initiative aims to reach both eligible young women and their parents, helping close awareness gaps before registrations close on 31 July.

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Created for Pepsodent’s Gum Expert range, the campaign aims to raise awareness that gum disease—not fictional monsters—is the real horror, encouraging consumers to recognise that healthy gums are the foundation of strong teeth.

Developed in collaboration by frank. Singapore, Omnicom’s dedicated Unilever team, and Indonesian horror director Anggy Umbara, the campaign uses humour, cinematic storytelling, and familiar horror characters to make gum health more relatable and memorable.

The campaign features a series of short films where classic horror icons face unexpected problems caused by poor gum health. This creative idea addresses a common consumer misconception that tooth discomfort only affects the teeth, when the underlying cause often begins with the gums. 

Launching first in Indonesia before expanding to Vietnam later this year, the integrated campaign spans fake horror trailers, cinematic short films, director interviews, livestreams, creator collaborations, and social content designed to blur the line between entertainment and advertising.

Madhurjya (Banjo) Banerjee, Senior Global Brand Director for Oral Care at Unilever, said the campaign aims to help consumers understand the importance of protecting their gums before problems become serious.

“With this campaign and our Gum Expert range, we are aiming to help consumers better understand that healthy gums are the foundation of strong teeth, and that gum protection can start with the right toothpaste,” said Banerjee. 

“This campaign helps us to approach the issue not through fear or statistics, but through entertainment and culture. By leveraging horror, comedy and storytelling formats people love watching and sharing, we aim to make gum health feel more relevant and easier to talk about,” added Banerjee. 

Meanwhile, Anggy Umbara said using beloved horror characters allows audiences to empathise with the consequences of poor gum health in a way that feels entertaining. 

“It is important that viewers feel what Dracula is going through when his fangs fall out.  Imagine the prince of darkness with no fangs — it’s the end of the world for Dracula because he can’t do the one thing that has to do to keep himself alive. If the audience can relate to his humiliation, confusion and fear, then they will start thinking about their own gums,” shared Umbara. 

The campaign also extends across TikTok and other social platforms through fan theories, parody content, reaction videos, and the playful “Draculamaxxing” trend, encouraging audiences to engage with gum health in a more entertaining way.

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Terence Leong, Executive Creative Director at frank. Singapore, said, “It’s 2026. Nobody is going to care about their gums because someone in a white coat tells them to do so. And we definitely don’t need another influencer sharing their best-kept secret. We knew we needed something more radical to start a conversation about gum care.”

“Kudos to our clients for having  the courage to try something supernatural. It was definitely a risk to get vampires and a werewolf to sell toothpaste to human beings — in fact, it’s unheard of in the category. The engagement numbers so far are showing that these monsters are more entertaining,  persuasive and relatable than most human beings we’ve casted in the past,” Leong added. 

The campaign builds on Pepsodent’s broader efforts to modernise oral care marketing by using culture, creators and entertainment to make conversations around dental health more engaging for today’s consumers.

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Produced by Mediawan Brand Studio and now available on YouTube, the series follows the individuals responsible for shaping the Club Med experience, from aspiring resort leaders competing for one of the company’s most coveted roles to the teams tasked with building, transforming and managing destinations around the world.

Spanning six destinations across four 30-minute episodes, Dream Makers aims to showcase the craftsmanship and operational complexity involved in delivering what Club Med describes as effortless holidays.

For travellers in Asia, the documentary arrives at a pivotal moment as Club Med accelerates investment across the region with new openings, major renovations and resort upgrades stretching from South Africa to Thailand.

“Dream Makers offers a glimpse into the care, creativity and intention behind every Club Med experience,” said Rachael Harding, CEO for East, South Asia and Pacific at Club Med.

“At its heart, this documentary reflects our belief that a truly memorable holiday is thoughtfully crafted, shaped by people who are deeply passionate about what they do. From South Africa to Bintan, and from Borneo to Koh Samui, each resort is brought to life with purpose, so that every stay feels both effortless and extraordinary.”

Written and directed by Aurélie Condou, the series follows several high-stakes projects across Club Med’s network.

In one episode, viewers witness the rebuilding of Club Med Punta Cana following a fire, with teams racing to reconstruct the resort within 10 months. 

Another follows the creation of Club Med South Africa, where a resort manager must build an entire team and culture before the destination even opens its doors.

The documentary also takes audiences to Oman, where architects and developers pitch plans for a future resort, while a group of aspiring Chefs de Village undergo intensive assessments to prove they are ready to lead a Club Med property.

The final episode focuses on the company’s future growth strategy and includes the announcement of Club Med Exclusive Collection Koh Samui, a luxury beachfront resort in Thailand scheduled to open in 2028.

The documentary launch coincides with a significant expansion phase for Club Med across Asia-Pacific and beyond.

Among the developments highlighted is Club Med South Africa Beach & Safari, opening in July 2026. Located on KwaZulu-Natal’s Dolphin Coast, the property combines a beachfront resort with access to the 18,000-hectare Mpilo Safari Lodge, offering guests both coastal and safari experiences.

Closer to Singapore, Club Med Bintan is undergoing an extensive transformation centred on the launch of Asia’s first Amazing Family Hub. The 300-square-metre facility, opening in July 2026, will feature family-focused play zones, workshops and entertainment spaces designed for multigenerational travel.

Meanwhile, Club Med Borneo is set to open in November 2026 on a 17-hectare beachfront site in Sabah, marking the brand’s first property in the destination. The resort will feature 400 rooms and sustainability-focused design inspired by local Rungus longhouses.

In the Maldives, Club Med Kani will unveil newly redesigned Exclusive Collection overwater suites from December 2026, while Club Med Phuket is introducing the Lai Thai Family Oasis, the brand’s first Family Oasis concept in Asia-Pacific.

The company’s future pipeline also includes the 303-room Club Med Exclusive Collection Koh Samui, developed in partnership with Central Group and expected to welcome guests in the second half of 2028.

Through Dream Makers, Club Med appears to be doing more than promoting its destinations. 

The documentary positions the brand’s people, culture and operational expertise as central components of the holiday experience itself, giving travellers a deeper understanding of what goes into creating the seamless escapes they see at check-in.

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Created for Australian bedding brand The Lad Collective, the integrated campaign, titled ‘The Boys Deserve Better’, marks the brand’s expansion into the United States while reinforcing its position in its home market.

At the centre of the campaign is a hero film that sees Irwin step into the role of a wildlife documentarian—except this time, his focus isn’t crocodiles or koalas, but the “average bloke” and his notoriously questionable approach to bed sheets.

Inspired by nature documentaries, the creative positions The Lad Collective’s signature corner strap fitted sheet as the solution to one of modern man’s most overlooked problems.

The campaign spans a long-form hero film across Australia and the US, alongside 30- and 15-second television cutdowns, paid social assets, product demonstrations, social-first executions, and integrated brand materials designed to support consumers throughout the purchase journey.

Rather than leaning into the polished aesthetics often associated with bedding advertising, Otherside chose to inject humour into the category.

“I don’t know what it is about bedding ads, but I feel like the same two people must make every sheet commercial, and they’re so…pretty but boring,” said Michael Beveridge, Creative Director at Otherside.

“Like it’s just a constant barrage of luxury-slop that makes me feel poor. We wanted to do something a bit more joyful, and we reckon Robert Irwin ripping across the globe saving big burly blokes from bodgy bedding was bang on.”

He added that comedy was also a strategic choice.

“And we know funny stuff works – it has higher recall, it works better in performance, and it stands out in a category that can sometimes be a bit too far up its own bedside.”

For Ed Ovenden, Founder of The Lad Collective, Irwin’s appeal made him a natural fit for the brand.

“Robert is so authentic and relatable. We love how genuinely passionate he is and know he is the perfect fit to help us encourage men to upgrade their sleep and bedding habits and do better in the bedroom… when it comes to their sheets,” he said.

Supported by earned media, television, digital, and social activity, the campaign is currently rolling out across Australia and the United States as The Lad Collective seeks to introduce its irreverent approach to bedding to a broader audience.

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Titled “Beside Your Feelings: The Blue Sea Shopping Street,” the campaign follows Natsuki, a young musician who returns to her seaside hometown only to discover that the once-vibrant shopping street she grew up with is slowly fading away.

Determined to revive the community she cherishes, Natsuki reunites with her childhood friend Minami. Together, they use Canva to design flyers, create promotional materials, and rally local residents around a shared cause. 

Their efforts eventually lead to the formation of a band alongside Misaki, a fishing YouTuber, transforming a grassroots initiative into a town-wide movement.

The campaign features acclaimed voice actor Kaori Maeda as Natsuki and is set to Hump Back’s anthem, “Haikei, Shonen Yo,” combining the emotional resonance of anime with themes of creativity, belonging, and self-expression.

Available as both a 30-second television commercial and a three-minute web-exclusive film, the initiative marks Canva Japan’s most ambitious brand effort to date as it seeks to reinforce its position as a creative platform that empowers everyday users to turn ideas into impact.

According to Asumi Yamayoshi, Brand Marketing Lead at Canva Japan, the campaign celebrates the seemingly ordinary moments where meaningful ideas often begin.

“Through creativity, ordinary people can spark extraordinary change, whether that’s revitalising a local community, bringing a dream back to life, or simply helping someone feel seen,” Yamayoshi said.

Directed by filmmaker Toshitaka Shinoda, the story culminates with a heartfelt letter designed in Canva, reinforcing the campaign’s message that creativity goes beyond aesthetics—serving instead as a way for people to express what matters most.

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Created for Laurier Super Ultra Slim, the “1-second Fast Absorption” campaign aims to challenge Gen Z consumers’ perception that sanitary pads offer largely similar benefits by highlighting the difference that confidence can make during heavy-flow days.

Rather than focusing solely on product features, the campaign visualises the often invisible mental calculations women make while navigating fears of leakage. 

Through two contrasting characters, it seeks to transform an internal experience into something audiences can instantly recognise.

Ling represents the hesitation and emotional weight that can accompany menstruation, while Aom embodies the freedom and confidence that come without constant worry. 

The contrast illustrates the campaign’s central message that a single moment can change how women move through their day.

Matsuoka Shinji, Marketing Vice President at Kao Industrial (Thailand), said younger consumers are increasingly discerning and unlikely to switch products simply because they are new.

He added that the brand wanted to go beyond showcasing a better product by capturing an experience many women already understand, creating a narrative that felt more observant than instructive.

Meanwhile, Ariyawat Juntaratip, Senior Executive Creative Director at Dentsu Creative Thailand, said the campaign began with acknowledging the “mental space” periods can occupy.

According to Juntaratip, the creative approach focused on the quiet calculations and invisible emotional load women carry, noting that brands should strive to understand these realities rather than explain them back to consumers.

By externalising period anxiety through visual storytelling, the campaign seeks to make Laurier’s promise of fast absorption more tangible and emotionally resonant.

“1-second Fast Absorption” launched in April 2026 and will run until 30 June across television and social media channels.

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Created by BBH Singapore, the campaign, titled “Gonna Be Glowin”, blends Anua’s skincare products with the high-energy world of KPop Demon Hunters, encouraging fans to embrace their inner HUNTR/X while celebrating self-expression and skincare.

The campaign supports Anua’s limited-edition KPop Demon Hunters skincare collection, which is available globally and features several sunscreen products alongside themed retail activations designed to bring the franchise experience closer to consumers.

At the heart of the campaign is a K-pop-inspired film directed by Kylie Kang of SL8, known for her music video work with artists including SEVENTEEN and aespa. 

The film builds on the collaboration’s initial product launch in February 2026, which introduced fans to five co-branded products, including Zero-Cast SPF, Matte SPF, Glow Stick SPF, Ultra-Thin Spot Cover Patch and Honmoon Collagen Mask.

Beyond the hero film, the campaign will extend across social media through creator partnerships and fan-focused activations designed to encourage participation and strengthen community engagement around the franchise.

Rebecca Nadilo, Director of Marketing Partnerships Creative APAC at Netflix, said the collaboration aimed to celebrate the coming together of two Korean brands while drawing inspiration from Korean pop culture and the “glow” associated with both the HUNTR/X characters and Anua’s skincare offering.

Meanwhile, Sascha Kuntze, Chief Creative Officer at BBH Singapore, said authenticity was central to the campaign’s creative approach. 

He noted that the team partnered with a prominent K-pop music video director and incorporated numerous Easter eggs throughout the film to reward dedicated fans, while expanding the story into social activations.

The campaign marks the latest effort by brands to tap into entertainment fandoms through deeper cultural collaborations that extend beyond traditional product tie-ins and into community-driven experiences.

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At the centre of the series is Annette Lee, whose recurring comedic characters have built a strong online following in Singapore’s social media ecosystem.

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Lee plays three distinct personas across the campaign: Tiffany, a part-time influencer chasing small luxuries; Mei Lin, an overworked mother seeking family downtime; and Sharon, a retired aunty fully embracing solo enjoyment and unapologetic indulgence.

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Across the episodes, the characters repeatedly run into one another while awkwardly trying to explain why they are back at another staycation yet again.

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A post shared by Annette Lee 李安 (@annettelee)

“We didn’t want to simply tell people there are 19 hotels to choose from,” said Mikey Batt, Creative Director at :Teeth.

“We wanted to give them characters, stories and reasons to keep watching. The idea behind the campaign is that one great stay is never the full story. So instead of making one ad, we made a series,” Batt said.

The campaign was filmed across Courtyard by Marriott Singapore Novena, JW Marriott Hotel Singapore South Beach, and Frasers House, a Luxury Collection Hotel, Singapore, each representing different staycation moods ranging from family-oriented escapes to urban luxury experiences.

Rather than spotlighting individual hotel properties through conventional tourism advertising, the campaign frames the wider Marriott Bonvoy portfolio as a rotating cast of experiences tailored to different emotional needs and life stages.

The campaign is anchored primarily on Annette Lee’s own social channels, allowing Marriott Bonvoy to tap directly into her existing audience and creator identity rather than relying solely on branded media placements.

Additional trailers, short-form clips, and mini-episodes are being distributed across Marriott Bonvoy’s channels to extend the campaign narrative.

The activation also extends offline through a consumer giveaway tied to Frasers House, where users are invited to submit their own reasons for needing a staycation via Instagram.

Fifteen winners will receive two-night stays at the property, while another fifteen will receive dining experiences across the hotel’s restaurants and lounges.

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