Titled ‘Home is where memories live. Protect yours with Enhanced Home Insurance,’ the campaign aims to address misconceptions around home protection while highlighting the emotional value attached to everyday spaces and belongings.

The campaign comes as survey findings commissioned by Income Insurance revealed that while 93% of homeowners recognise that fire insurance and home insurance are different, only three in 10 clearly understand how their coverage differs. 

The insurer said this knowledge gap could leave homeowners unaware of the protection available for their belongings, renovations and personal possessions.

At the centre of the campaign is a film following a young woman as she returns to her childhood home. As she revisits familiar rooms and treasured objects, memories of her family unfold, reinforcing the idea that a home’s true value lies not only in its physical structure but also in the experiences it holds.

Extending the storytelling across digital channels, the campaign transforms everyday household items into symbols of shared memories. 

A sofa becomes movie nights, a dining table represents family conversations, and a bed evokes bedtime stories, encouraging audiences to think about what they are truly protecting.

Dhiren Amin, Chief Customer Officer at Income Insurance, said the campaign seeks to broaden how homeowners think about protecting their homes.

“A home is much more than just walls and structures; it is where our most cherished memories live. Yet when it comes to home protection, many homeowners focus on the property and overlook the belongings and personal possessions that give a home its meaning. Through this campaign, we hope to inspire Singaporeans to rethink what it truly means to protect a home.”

Meanwhile, Asheen Naidu, Group Executive Creative Director at Leo Singapore, said the creative strategy shifted the focus from possessions to the experiences attached to them.

“Most home insurance advertising focuses on things people own. We wanted to focus on what those things represent. By shifting the conversation from possessions to the moments attached to them, we created a campaign that reminds homeowners what they are really protecting.”

The campaign is now running across digital and social platforms including YouTube, Facebook and Instagram, as well as cinemas and StarHub TV in Singapore.

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Rather than relying on celebrity endorsements or conventional holiday imagery, the campaign imagines that the WeWa Card’s travel benefits are so compelling that even extraterrestrials would travel to Earth to take advantage of them.

The work was created by Hong Kong-based independent creative agency SO DON’T BORE for PrimeCredit’s WeWa Card, highlighting the card’s worldwide travel rebate offering while encouraging audiences to engage with the campaign across multiple touchpoints.

At the centre of the campaign is a dual-track execution comprising two versions of the same campaign film. 

Alongside a standard Cantonese version, audiences on YouTube are also served a fully voiced and subtitled version presented entirely in a fictional alien language, designed as a digital easter egg to surprise viewers.

The concept extends beyond digital into out-of-home advertising across major transit stations in Hong Kong. 

Side-by-side pillar displays feature the standard campaign creative alongside an identical version rendered entirely in alien glyphs, encouraging commuters to take a second look while reinforcing the campaign’s playful premise.

According to the agency, the campaign was developed to challenge conventions within the financial services category by approaching credit card advertising through humour and unexpected storytelling.

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Titled ‘Butterfly’, the campaign draws on the Filipino belief that butterflies can represent visits from departed loved ones, using the cultural tradition to tell a story about family, memory, and heritage.

The film follows a butterfly that enters actor Dingdong Dantes’ home before revealing itself as his late grandfather, highlighting how shared meals and familiar brands can preserve connections across generations.

Created as part of Ligo Sardines’ more than 70-year legacy, the campaign positions the brand as more than a pantry staple, portraying it as a familiar presence woven into family traditions and everyday moments passed down through generations.

Reflecting on the creative idea, Rya Suarez, Art Director at Leron Leron Sinta, said the concept aligned naturally with the brand’s heritage.

“What really connected the concept to Ligo is how the idea perfectly matched the brand’s goal of showing a heritage of love and connection passed from one generation to the next.”

Suarez added, “As a heritage brand, we wanted to show that Ligo is timeless. We wanted it to be nostalgic but at the same time make the current generation relate to it, but in a masa way.”

Beyond its emotional narrative, the campaign reinforces Ligo Sardines’ longstanding focus on quality and consistency, positioning the brand as a fixture in Filipino homes that continues to create shared memories across generations.

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Created by The Secret Little Agency (TSLA), the campaign aims to shift long-held perceptions that standards are primarily about audits and regulations, instead highlighting their role in helping businesses build credibility, drive innovation and expand into new markets.

The campaign accompanies the launch of Enterprise Singapore’s S&C 2035 Roadmap, unveiled by Deputy Prime Minister and Minister for Trade and Industry Gan Kim Yong during the S&C Gala Dinner in June, which also marked 60 years of standards and 40 years of accreditation in Singapore.

Built around the platform “Growth Comes to Those Who Have Standards,” the campaign positions standards as a competitive advantage for businesses seeking long-term growth.

Its hero film deliberately challenges expectations by opening with the message, “Don’t adopt standards. Unless you’re ready,” encouraging businesses to reflect on whether they are prepared to leverage standards as a catalyst for growth rather than viewing them solely as a compliance exercise.

The integrated campaign also features a series of key visuals highlighting how standards can support business credibility, unlock innovation and facilitate international expansion. 

It showcases Singapore companies including HOPE Technik and Jurong Cold Store as examples of businesses that have used standards to strengthen competitiveness and scale their operations.

According to Enterprise Singapore, the campaign addresses a deeper perception issue rather than a lack of awareness, seeking to reposition standards as a business tool that enables growth opportunities in an increasingly competitive global environment.

The campaign will run across film, digital and out-of-home channels throughout Singapore.

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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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