Created in partnership with Ogilvy Malaysia, the activation turned a café in Petaling Street into a stage where passers-by could watch a story unfold between three friends, inspired by the small moments of kindness that define Malaysian culture.

The campaign builds on Cadbury’s global ‘Made To Share’ platform, which celebrates everyday generosity through the brand’s signature packaging design that highlights simple, relatable acts between family and friends.

For the Malaysian campaign, Ogilvy reimagined the packaging concept as a storytelling device, extending the familiar grid design into a live theatre experience that combined animation, performance, and technology.

At the heart of the activation was an innovative transparent LED screen installed across the café’s front window, allowing animated visuals to interact with the live actors performing behind it.

Developed in collaboration with local theatre company fskl.works, the production featured four live performances throughout the day, each carefully choreographed to align with the animated ‘Made To Share’ visuals.

The campaign aimed to spotlight the often-overlooked moments of generosity that happen in everyday life, reinforcing Cadbury’s longstanding association with sharing and human connection.

The live performance was later adapted into a film, extending the campaign’s reach beyond the café and allowing audiences to experience the story online.

Beyond the live performances, the activation was supported by a broader 360-degree campaign that included social media teasers and on-ground experiences where visitors could create personalised Cadbury Dairy Milk bars.

Graham Drew, Chief Creative Officer at Ogilvy Group, said the idea stemmed from viewing Cadbury’s packaging as a platform for storytelling rather than simply a product design element.

“Each grid on Cadbury’s packaging reveals an insightful generous moment. In essence it’s a storytelling platform – so we thought what if we extended it? What if the everyday acts of generosity happening around us weren’t hidden in plain sight, but placed centre stage? What if we wrote a play using the grids to reveal the generous ways people show up for one another every day?” said Drew. 

Meanwhile, Cadbury Malaysia’s marketing team said the campaign offered a fresh way to celebrate Malaysian generosity by placing familiar moments centre stage in an unexpected setting.

Mei Sin, Marketing Director at Cadbury Malaysia, said, “The MTS is a global platform, but nobody has turned it into a live performance before. What we loved about this idea was how it took everyday Malaysian moments of generosity and placed them right in plain sight, in such a surprising and entertaining way. It reminded us all that generosity doesn’t always arrive in grand gestures. More often, it’s found in the little things we do for one another every day.” 

With the activation, Cadbury Malaysia has demonstrated how brand storytelling can move beyond traditional advertising by transforming an everyday space into a memorable cultural experience.

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As the aviation group continues to expand its global footprint, the appointment positions Carat Malaysia as MAG’s central media hub, overseeing globally aligned campaigns designed to strengthen engagement with travellers at every stage of their journey while supporting the group’s long-term international growth ambitions.

Under the partnership, Carat will integrate media and SEO capabilities into a single strategy, combining global coordination with local market insights to deliver more relevant and effective communications across diverse audiences worldwide.

Operating from Malaysia, Carat will collaborate with local market teams and specialist partners to ensure campaigns are tailored to regional behaviours and cultural nuances while maintaining consistency across MAG’s international network.

The move reflects MAG’s ongoing efforts to strengthen its position as a leading aviation organisation through more seamless and data-driven traveller experiences.

Bala Pomaleh, CEO of Media at dentsu Malaysia, said the partnership presents an opportunity to connect travellers with both the MAG brand and the broader Malaysian story.

“We are incredibly proud to be handed this mandate, bringing together the strength of our global capabilities and Asian heritage with deep local truths, to craft strategies that resonate across markets while staying  grounded in the spirit that makes Malaysia unique,” said Pomaleh. 

“Together with MAG, we look forward to creating more meaningful connections with travellers around the  world and showcasing the very best of what Malaysia has to offer,” added Pomaleh. 

The appointment further strengthens Carat’s presence in the travel and aviation sector, while reinforcing MAG’s commitment to building stronger relationships with international travellers through integrated and insight-led marketing.

As MAG continues to grow its international presence, the partnership is expected to play a key role in helping the group deliver more personalised and connected experiences across its global markets.

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The Star reported that the proposed changes were outlined in a public consultation document released by the Intellectual Property Corporation of Malaysia (MyIPO).

Among the key proposals is the introduction of a legal framework governing the use of copyrighted works by AI. The proposed framework would prioritise transparency, fairness and appropriate compensation, ensuring creators are informed about how their works are being used while supporting continued AI innovation.

“Malaysia is considering a framework that balances protec­ting creators with supporting AI innovation,” shared MyIPO with The Star. 

To strengthen efforts against online piracy, MyIPO is proposing the introduction of dynamic injunctions, a mechanism that would allow courts to block entire networks of pirate websites under a single order and add newly identified infringing sites without requiring separate legal proceedings.

The proposed reforms would also expand the powers of the Copyright Tribunal by allowing either licensing bodies or their members to refer royalty disputes without requiring consent from the other party. MyIPO has also proposed that all tribunal cases be resolved within 60 days after hearings conclude.

Another proposal focuses on orphan works—copyrighted materials whose owners cannot be identified or located—allowing them to be used for education, research, preservation, and public interest projects under the proposed framework after a diligent search for the rights holder has been conducted.

MyIPO said the changes could help libraries and universities digitise historical materials, while providing researchers and educators with greater access to cultural resources and supporting the wider creative economy.

The consultation document also proposes the introduction of an Artist’s Resale Right (ARR), which would allow artists to receive royalties when their works are resold. 

Malaysia currently does not recognise ARR, despite more than 90 countries implementing similar schemes.

Eligible works under the proposal would include fine art, photography, illustrations, crafts, architecture, designs and prints, allowing artists to benefit from increases in the value of their works after the initial sale.

In addition, the amendments would provide clearer distinctions between copyright protection for creative works and industrial design protection for manufactured products, with the aim of improving enforcement consistency and reducing disputes.

According to MyIPO, the broader reforms are intended to improve access to justice, provide greater legal certainty and enable faster resolution of copyright disputes as Malaysia’s creative and digital economies continue to evolve.

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MARKETECH APAC’s Content Marketing Awards Asia Pacific 2026 is a prestigious celebration of dynamic, creative, and impactful content-driven storytelling across the region, honouring the campaigns, brands, agencies, and individuals redefining how content shapes connections, builds communities, and drives business impact in today’s ever-evolving landscape.

The Grand Prix — the most coveted recognition of the night — is awarded to the brand, agency, or MarTech company that performed best across all categories. Points are assigned for each win (gold = 3 points, silver = 2 points, bronze = 1 point), and winners are determined by cumulative score, with a minimum of 10 points required to be named Agency or Brand of the Year, underscoring the level of consistent excellence the title demands.

GrowthOps Asia claimed the Agency of the Year Grand Prix with nine trophies for a total of 23 points. The agency dominated with six golds for Best B2C Content Campaign, Best Content Campaign for Product Launch, Best Influencer-Led Content Campaign, Best Podcast / Audio Content Campaign, Best Social Media Content Campaign, and Best Video Content Campaign, alongside two silvers and one bronze. 

Runners-up for the Agency title were Dentsu Hong Kong with eight trophies for 17 points, Leo Hong Kong with six trophies for 14 points, and Lèngua with seven trophies and VML Singapore with five trophies tied at 13 points each. 

Commenting on their win, Chris Greenough, General Manager & Regional Head of Creative Services at GrowthOps Asia, said, “Bringing a great idea to life is not unlike any other great moment in life. It can feel like trying to catch lightning in a bottle. You need the right people, in the right place, at the right time. You need trust. You need courage. And, if we’re being honest, you need a little bit of luck.”

Standard Chartered Bank (Hong Kong) emerged as Brand of the Year with nine trophies for a total of 19 points. The bank secured three golds for Best Integrated Content Campaign, Best Engagement-Driven Content Campaign, and Best Customer Acquisition Content Campaign, along with four silvers and two bronzes. 

Following closely as runners-up for the Brand title were Unifi TV with six trophies for 17 points, CityPlaza Hong Kong with eight trophies for 16 points, Malaysia Airlines with eight trophies and Scoot and Singapore Tourism Board with five trophies each tied at 13 points. 

Among the most contested categories, Best Storytelling Campaign drew 10 entries, with Malaysia Airlines sweeping all three podium spots — gold, silver, and bronze. Its winning campaign, “Time for Chiang Mai,” also picked up three bronze awards elsewhere in the programme and earned Malaysia Airlines two National Winner Awards, for Best Storytelling Campaign and Best Content Campaign in Travel & Hospitality.

CMAA 2026 introduced the National Winner Award for the first time, given when a specific category receives at least five entries from a single country (e.g., Singapore, Malaysia, Thailand), with the highest scorer in that category named National Winner.

Joining Malaysia Airlines in the National Winners’ circle were Unifi TV and GrowthOps Asia, who topped Best Integrated Content Campaign on the Brand and Agency tracks, respectively, with their award-winning campaign “Wedding Crashers”. 

Meanwhile, Mastercard, together with its agency partners AsiaWorks and Carat, and tech partner LinkedIn, led Best Video Content Campaign with their “In The Loop: Turning Broadcast Credibility Into Always-On B2B Influence” campaign, which also earned multiple awards in other categories. 

A total of 28 unique organisations attended the gala night. Winners came from markets including Singapore, Malaysia, the Philippines, Indonesia, Thailand, Hong Kong,  India, Vietnam, Australia, and Mongolia, reflecting the programme’s wide regional representation. 

Malaysia led the trophy count with 31 wins, followed by Hong Kong with 19. The Philippines and Singapore tied for third with 18 trophies each.

See the full list of winners HERE.

The judging process was overseen by a distinguished panel of senior creative, marketing, and media agency leaders, bringing years of industry expertise to ensure the credibility and integrity of the results. 

The Head of Jury appointments and categories are as follows:

• Tim Green, Chief Creative Officer APAC, Edelman (Singapore) – Marketing Campaigns Categories (Brand, Storytelling & Cultural Impact)
• Andrew Pinto, Vice President, Unifi Brand and Marketing, Telekom Malaysia – Marketing Campaigns Categories (Integrated Campaigns, Partnerships & Impact)
• Rajat Basra, Chief Executive Officer, Omnicom Media Group (Indonesia) – Marketing Campaigns Categories (Performance, Platforms & Growth)
• Simone Tam, CEO Greater Bay Area, dentsu (Hong Kong) – Industry-Focused Categories

See the full list of the jury HERE. 

In his closing speech, Joven Barcenas, Founder and CEO of MARKETECH APAC, said, “To every market represented tonight — whether you took home one award or many — your presence on this regional stage means something. Your content community is alive, ambitious, and ready to be seen.”

He continued, “We started tonight by saying this was a new chapter. Tonight, together, we wrote the first page…Thank you for making the inaugural Content Marketing Awards Asia Pacific a night to remember.”

Brands, agencies, and martech companies interested in joining next year’s CMAA may reach out via [email protected].

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Developed by its subsidiary INCUTix, the platform combines premium photo card collectibles with a connected machine network, allowing fans to discover, collect, and engage with their favourite franchises through conveniently located vending machines.

The launch marks the latest expansion of INCUBASE Studio’s IP entertainment ecosystem, creating a new distribution channel for licensed content while helping entertainment brands build deeper and more frequent engagement with fans.

Following its debut in early June, GochaGocha has already been rolled out across 23 locations in Hong Kong, Taipei, Kuala Lumpur and Bangkok, featuring popular franchises including ONE PIECE, Digimon, Pretty Cure Splash Star, Girls Band Cry, Magical Doremi and Saint Seiya, with machines installed across INCUBASE Arena venues and selected cinemas.

Built around the growing popularity of fandom culture, GochaGocha combines the excitement of surprise collectibles with officially licensed content, creating repeat engagement while making premium merchandise more accessible to fans.

Showcasing its appeal through high-profile activations, GochaGocha partnered with Toei Animation at Hong Kong Comic Con 2026 to launch exclusive collectible card sets while also releasing special collections for the Masked Rider Kuuga 25th Anniversary Exhibition and the Lines of EVANGELION Exhibition at INCUBASE Arena.

Beyond serving collectors, GochaGocha is designed as a scalable platform where INCUBASE Studio manages licensing, content planning, and collection design, while partners benefit from streamlined deployment, integrated payment systems, and real-time transaction tracking.

Following its Southeast Asian launch, INCUBASE Studio plans to expand GochaGocha into Japan, South Korea, Europe, North America, and the Middle East, positioning the platform as a new global channel for entertainment brands looking to strengthen fan engagement through collectible experiences.

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Running from 4 to 19 July, the activation transforms local kopitiams across Penang, Ipoh, and the Klang Valley into communal matchday venues, offering fans a distinctly Malaysian way to enjoy the game.

Rather than centring the football experience in bars or dedicated viewing venues, the campaign taps into Malaysians’ habit of gathering over breakfast, positioning kopitiams as spaces where football conversations and shared experiences naturally unfold.

Stefano Clini, Managing Director of Carlsberg Malaysia, said the initiative builds on everyday consumer behaviour by bringing matchday celebrations into familiar community spaces.

At the heart of the campaign are seven Kopiti.AM events hosted at participating outlets, including Fisherman Wharf, YMY Food Court, and Eight Heng Food City in Penang; GP Signature in Ipoh; and Delish Food Village, Everyday Harmony Foodcity, and Rock Cafe in the Klang Valley.

Each activation features breakfast spreads, Carlsberg breakfast cocktails served from a kopi cart, live entertainment, games, giveaways, a cheer squad, and an AI-powered photo booth designed to capture fans’ matchday celebrations.

“With rewards and promotions that keep the excitement going beyond matchday, Kopiti.AM is all about bringing fans closer to the game and each other over the moments that are #BestWithCarlsberg,” added Clini. 

The campaign also incorporates venue-specific breakfast offerings to reflect the heritage of each participating kopitiam while maintaining a consistent football-themed experience.

According to Carlsberg Malaysia, the initiative is designed to create a more localised football viewing experience by combining the country’s breakfast traditions with one of its most popular sporting events.

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Launched from the tournament’s Round of 16 stage, the campaign aims to use one of the world’s biggest sporting moments to raise awareness of rescue animals through entertaining, social-first content that encourages Malaysians to consider adoption.

Bringing together Coco Loca, Real Food, and SPCA Selangor, the campaign places 16 rescued cats and dogs at the centre of the action, with each animal making its own prediction for every Round of 16 match. 

Their “forecasts” are shared across social media to entertain football fans while introducing audiences to the personalities of animals looking for permanent homes.

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According to GO Communications, the campaign was designed to demonstrate how brands can engage with cultural moments while delivering meaningful social impact.

Peter de Kretser, Chief Executive Officer of GO Communications, said the objective was never simply to capitalise on football’s popularity.

“In a country like Malaysia, football naturally and instantly commands attention. But for us, the real question was, how do we tap into that excitement in a way that feels fresh and socially meaningful? ‘Furry Forecast’ emerged from that thinking,” said de Kretser.  

He added that the campaign demonstrates how collaboration between brands and charities can create stronger emotional connections with audiences.

“At its heart, this is a campaign about connection between brands, between audiences, and hopefully between these 16 animals and the families who may choose to take them home,” de Kretser added.

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For beverage brand Coco Loca, the partnership provides an opportunity to join one of the year’s biggest sporting conversations while supporting a meaningful cause beyond the tournament itself.

“This campaign strikes the right balance between fun and purpose. The World Cup is a time when people come together, conversations are flowing, and emotions are high. We saw an opportunity to contribute to that energy in a way that felt light-hearted but also worthwhile,” shared Ben Chua, General Manager of Coco Loca. 

“Working alongside SPCA Selangor, Real Food and GO Communications allowed us to be part of something that goes beyond conventional marketing. It is enjoyable, yes, but it also shines a light on animals that deserve love, attention and a second chance,” added Chua. 

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Meanwhile, Nutrition brand Real Food said the partnership reflects the brand’s commitment to compassion and wellbeing, with the campaign offering an authentic platform to encourage animal adoption while engaging football fans in a fresh way.

“We believe the strongest brand collaborations are the ones that feel authentic, where each partner brings something meaningful to the table,” said Dr. I-lene Tan, Co-founder and CEO of Real Food Real Good Sdn. Bhd. 

“In this case, football provides the occasion, GO provides the creative orchestration, SPCA provides the platform, and together with Coco Loca, we are able to help give these animals a voice, something that’s very rare,” added Tan. 

Christine Chin, Chairman of SPCA Selangor, added that the campaign helps introduce rescue animals to a much wider audience by meeting people where their attention already is, giving more animals the opportunity to find loving homes.

“What ‘Furry Forecast’ does so beautifully is meet audiences where they already are – in the middle of football fever – and gently redirect some of that attention toward our animals… We are grateful to Coco Loca, Real Food and GO Communications for helping us turn that visibility into something that can genuinely change lives,” said Chin. 

With ‘Furry Forecast,’ GO Communications shows how brands can transform trending cultural moments into campaigns that not only entertain audiences but also deliver lasting social impact.

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The campaign builds on Pizza Hut Malaysia’s wider ‘Feed Good Times’ platform, using one of Malaysia’s most recognisable internet characters to spark conversations around digital wellbeing while reinforcing the brand’s role in bringing people together.

Created in collaboration with artist Olive Yong, Bichi Mao has amassed more than 2.4 million followers through its relatable humour and everyday comics, forming a partnership that aims to connect with Gen Z and young millennials who are increasingly experiencing digital fatigue despite spending more time online.

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Rather than telling people to stop using social media, the campaign reframes mealtimes as opportunities to pause, put phones aside, and enjoy meaningful moments with friends and family.

Running from 29 June, the collaboration introduces limited-edition Bichi Mao packaging across Pizza Hut Malaysia’s MyBox and Hut’s Sliders meals nationwide. Customers will also receive collectible sticker packs, while participating restaurants feature playful in-store elements such as phone docking stickers where Bichi Mao can “guard” customers’ devices during meals.

The campaign also extends online through free downloadable Bichi Mao wallpapers, original comic strips, creator collaborations and a series of animated short films featuring the character breaking the fourth wall to encourage viewers to spend less time scrolling and more time enjoying real-world moments.

From 15 July, selected Pizza Hut outlets will also offer limited-edition Bichi Mao merchandise, including shaker acrylic standees and keychains, available with qualifying meal purchases while stocks last.

By combining a popular local intellectual property with relatable storytelling, Pizza Hut Malaysia is using the campaign to strengthen its connection with younger audiences while reinforcing its brand message around meaningful social experiences beyond the screen.

The Pizza Hut x Bichi Mao collaboration is available via Pizza Hut Malaysia’s app and website, as well as through dine-in, takeaway, Foodpanda, and GrabFood at participating outlets nationwide.

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The appointment supports Kingdom Digital’s ambition to move beyond traditional digital content by creating culturally relevant ideas and immersive brand experiences designed to deliver stronger business impact.

In his new role, Teh will oversee creative output across the agency’s growing regional client portfolio while helping shape work that reflects Kingdom Digital’s “Made Differently” philosophy.

With 17 years of industry experience, Teh will work closely with Edmund Lou, Strategy Director of Kingdom Digital, to lead the agency’s creative direction across Southeast Asia and to develop marketing solutions that combine data, AI technology, and creative storytelling.

Commenting on his appointment, Teh said the opportunity to build on the agency’s digital strengths while shaping its next creative chapter attracted him to the role.

“There is a profound opportunity here to move beyond mere execution and deliver ideas that shape business and culture. I look forward to helping define the next version of our creative standard,” shared Teh.

Looking ahead, Teh said the agency’s focus is not on producing more work, but on creating ideas that stand out.

“We want ideas that deserve to exist in culture and experiences people can interact with, not just content they scroll past. When the work is confident, memorable, and recognisably Kingdom Digital even without the logo, that’s when we know we’re on the right track,” said Teh.  

Meanwhile, Ryan Ong, Chief Executive Officer of Kingdom Digital, said Teh’s appointment reinforces Kingdom Digital’s belief that creativity should be a key driver of business growth.

“Kevin brings a rare balance of creative ambition and commercial discipline. He understands that creativity and performance are not separate, creativity is the growth engine behind performance. His focus on culturally resonant ideas and distinctive thinking makes him the right fit to lead Kingdom Digital Malaysia’s creative evolution,” said Ong. 

The appointment also strengthens Kingdom Digital’s investment in AI-enabled creativity, with the agency positioning technology as a tool to support creative thinking rather than replace it.

Teh said AI allows creative teams to explore more ideas and accelerate development, but stressed that originality, judgement, and human creativity remain the most valuable differentiators.

“AI is removing friction from execution. When production becomes faster and more accessible, the value shifts to taste, judgement and originality,” he explained. “AI-enabled creativity is about accelerating exploration. You can test more directions, visualise ideas earlier, and unlock possibilities that weren’t practical before. But tools don’t decide what’s worth making. People do.” 

Kingdom Digital recently secured new business including Malaysia Airlines, Spritzer, iProperty Malaysia, redBus and Counterpain, with the agency continuing to position Malaysia as a strategic hub for regional growth.

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Running from 1 June to 12 July 2026 at Food Capital in Grand Copthorne Waterfront Hotel Singapore, the campaign showcases Malaysia’s culinary diversity through an immersive dining experience featuring signature dishes from Johor, Penang, Kuala Lumpur, Sabah, and Sarawak.

The initiative reflects Tourism Malaysia’s broader strategy of promoting the country through authentic cultural experiences, positioning gastronomy as a gateway for travellers to discover Malaysia’s heritage, regional identities, and local communities.

Developed in collaboration with the Sarawak Trade and Tourism Office Singapore, the Sabah Trade and Tourism Office Singapore, and supported by the Malaysian High Commission in Singapore, the campaign brings together five master chefs for a collaborative ten-hands dining experience.

According to Mohd Amirul Rizal Abdul Rahim, Director General of Tourism Malaysia, food remains one of the strongest ways to introduce Malaysia’s cultural richness to international audiences.

“By collaborating closely with our partners at the Sabah and Sarawak Trade and Tourism Offices, this promotion stands as a true testament to our ‘Malaysia Truly Asia’ identity,” said Rahim.

Beyond offering a conventional buffet, the experience highlights the stories behind each dish, blending Malay, Chinese, Indian, and indigenous Bornean culinary influences to give diners a deeper appreciation of Malaysia’s multicultural heritage.

The campaign also showcases how destination marketing is increasingly moving beyond traditional tourism advertising to create immersive experiences that allow consumers to engage with a destination before travelling.

Singapore continues to be one of Malaysia’s strongest tourism markets, recording 1.7 million visitors in April 2026, a 7.4% increase compared with the same period last year.

Tourism Malaysia hopes initiatives such as “Flavours of Malaysia” will further strengthen destination awareness while inspiring more travellers to experience the country’s food culture firsthand.

As preparations continue for Visit Malaysia 2026, the campaign forms part of Tourism Malaysia’s wider effort to position the country as one of Asia’s leading culinary destinations while reinforcing gastronomy as a powerful driver of tourism marketing.

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