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Publicis Groupe’s acquisition of Singapore-based HEPMIL Media Group marks a turning point in global and Southeast Asian influencer marketing. The deal combines HEPMIL’s deep cultural insight and creator network with Publicis’ global data capabilities, reflecting a broader wave of large networks acquiring local influencer marketing firms to strengthen regional reach. Analysts MARKETING-INTERACTIVE spoke to say this strategy is shaping the next evolution of creator-driven marketing, influencing everything from innovation and creator diversity to the balance between boutique agencies and large integrated solutions. The deal follows similar acquisitions in the region, including We Are Social’s purchase of Singapore-based Kobe, and illustrates how network agencies are consolidating local talent and platforms to expand its footprint. Hattie Marsden, an M&A advisor and founder of TruWater advisory, noted that “almost every active agency acquirer has been circling Southeast Asia for influencer deals in the past 12 months, and it was only a matter of time before one landed.” “No surprise it’s Publicis out front. Over the past two years, it’s consistently moved fastest and gone biggest, picking up the headline targets in every major market,” she added. Don’t miss: Publicis Groupe to acquire SEA influencer agency HEPMIL Marsden noted that this acquisition fits into a broader global strategy by Publicis. In 2024, the company acquired Influential, a US-based influencer platform valued at around US$500 million, leveraging AI and creator data. This was followed by the acquisition of Captiv8 in 2025, another US-based scalable creator platform, and BR Media Group in Latin America for regional dominance. Each acquisition reflects Publicis’ goal of building end-to-end creator ecosystems. HEPMIL now represents the Southeast Asian chapter of this global roll-up.  She added, “Publicis’ move on HEPMIL isn’t random. This isn’t just an ‘influencer agency anymore; it’s a creator-distribution network designed to plug straight into holding-company media systems.” What HEPMIL brings is what global platforms can’t fake—authenticity that runs deep across Southeast Asia. HEPMIL’s track record demonstrates why global acquirers prize disciplined, culturally fluent founder teams that scale sustainably. Marsden highlighted that HEPMIL had been profitable since inception, reporting around SG$5 million in revenue and a profit in 2020, and later raising US$10 million in 2021 to accelerate regional growth. “Both Kobe and HEPMIL demonstrate what acquirers now prize—founder teams that combine cultural fluency with sustainable business models,” she said. Shufen Goh, principal and co-founder of R3, added that HEPMIL’s value lies in its integration of local insight with global data capabilities. “Around the world, holding companies are acquiring partners that blend identity-led data capabilities with local influencer insight. In Southeast Asia, HEPMIL’s creator network and locally informed content complement Publicis’ data capabilities, creating a strong synergy between on-the-ground insight and data-driven marketing.” Leela Nair, APAC managing director of Ebiquity, echoed this, calling the acquisition “a clear reflection of the accelerating consolidation trend in influencer marketing, where global agencies are building scale and technological sophistication by integrating local expertise.” “The trend aligns with what we see in the market: brands increasingly demand transparency, measurable ROI, and optimisation of influencer spend alongside authentic local engagement,” she said. She added that what is important isbalancing scale with cultural nuance which HEPMIL’s community-driven approach embodies. This balance, according to Nair, is critical in SEA, where influencer marketing has long been embedded in local consumer behaviour “but is now evolving rapidly with AI-powered platforms and sophisticated analytics”. The evolution of influencer marketing Influencer marketing is no longer a niche tactic; it has become a core pillar of brand strategy. The global market has grown from US$21 billion in 2023 to US$33 billion in 2025, and one in 10 brands now spend more than half of its marketing budget on creator-led campaigns, according to Statista. Platforms such as Influential and Captiv8 are turning creators into programmatic media channels that are measurable, repeatable, and integrated into brand operations. In Southeast Asia, the evolution is particularly pronounced. “Influence here has always been local,” Marsden said. “Communities don’t just consume media—they engage with voices that reflect their cultural language, humour, and everyday micro-moments. From Singapore’s local-dialect satire to Thailand’s addictive short-form story content, creators build trust by speaking like insiders, not broadcasters.” Goh added, “Globally, influencer marketing has evolved from one-off collaborations into a strategic pillar of brand building. In Southeast Asia, influence remains deeply rooted in community, local humour, and the nuances of cultural context. Authentic connection often matters more than sheer reach.” Solomon Wan, regional commercial VP of Partipost, added that the acquisition reflects a broader global shift of influencer marketing moving from being an experimental add-on to becoming a strategic pillar of brand communication. “Major networks such as Publicis are actively consolidating capabilities in data, content, and creator ecosystems to build integrated marketing solutions,” said Wan, adding that in Southeast Asia, this move validates the strength of the creator economy. “The fact that one of the region’s most culturally resonant content groups such as HEPMIL is being acquired signals that large holding groups are now looking to buy into local creator authenticity rather than just media scale. It’s a sign that SEA’s influence-driven, community-based marketing models have matured and are now part of the mainstream global marketing playbook,” Wan said. While globally, influencer marketing is increasingly data-driven and outcome-oriented, SEA has a cultural advantage. “Creators here act as cultural translators, bridging languages, local humour, and lifestyles across diverse markets. While global brands bring frameworks and data tools, execution depends on local networks and cultural understanding,” Wan said.  While consolidation offers scale and access to tools, it also brings challenges. “Acquisition always looks scary from the outside. ‘Big network buys indie = culture dies’ is the expectation most entrepreneur sellers have. But for many founders, being acquired doesn’t kill creativity; it funds their next chapter,” explained Marsden. Nair cautioned that the risks are real if diversity and agility are not actively preserved. “Our research shows that as global networks absorb regional agencies, there is a real danger of reduced innovation and a narrower creator pool if diversity and agility are not protected,” she said. As such, brands

Public reaction to Coca‑Cola’s 2025 AI-driven holiday ads has been mixed, as the brand experiments with generative AI to refresh its iconic seasonal storytelling. Since the campaign’s launch, 10.2% of conversations were positive and 32% negative, compared with 23.8% positive and 31.4% negative prior to the ad, according to media intelligence firm CARMA. Netizens criticised the ads for a perceived lack of creativity and nostalgia relative to previous campaigns, saying the “magic” historically associated with Coca‑Cola seems diminished by the increased reliance on AI. Many also expressed frustration that cost-cutting and AI production appear to be prioritised over artistic quality, with some questioning the continued use of AI despite past criticism. Data from Truescope further highlights the diversity of online reactions. Most discussions (93.8%) were neutral, focusing on the broader trend of AI in advertising and referencing Coca‑Cola’s AI-powered holiday campaign from the previous year. Don’t miss: Can an ‘AI generated’ label really build trust, or will it slow the industry down? Around 3.1% of users shared mixed opinions, questioning the cost-effectiveness of using AI and the decision to forgo traditional artists. Negative sentiment accounted for 1.5%, with critics calling the ad “bland” and “soulless,” and some even expressing support for competitor brands such as Pepsi. A small group (1.5%) suggested that the AI controversy itself might be an intentional marketing tactic to generate attention. Despite the divided response, Coca‑Cola is pressing ahead with its 2025 global holiday campaign, “Refresh your holidays”, which celebrates those working behind the scenes to bring seasonal magic to life. The campaign features three new films, including “A holiday memory” and two AI-driven reimaginings of the 1995 classic, “The holidays are coming”. “A holiday memory”, slated for North America, Latin America and Asia South-Pacific, follows a busy mother who discovers the spirit of the season after sipping an ice-cold Coca‑Cola and spotting a magical ornament. Beyond films, the campaign will see the return of Coca‑Cola Caravans and its Truck Tour in November and December, offering immersive community experiences. Out-of-home creative, in-store merchandising and additional activations will complement the fully integrated effort. AI also plays a central role in Coca‑Cola’s approach this year. Working with San Francisco studios Secret Level and Silverside AI, the brand produced updated versions of “The holidays are coming”, combining technical precision, cinematic storytelling and production quality. The brand said AI tools streamline workflows, allowing teams to quickly produce multiple versions of a film for different audiences or geographies, giving creators unprecedented freedom and control. “Building on last year’s campaign, this creative truly embodies our commitment to inspiring the ‘Real magic’ of authentic human connection during the holiday season,” said Islam ElDessouky, global vice president, creative strategy and content. “We’re saluting people around the world whose generous acts of goodwill help make Christmas the most special time of year and rewarding them with the refreshment and uplift only Coca‑Cola can deliver.” ElDessouky noted the creative challenge for a brand with such deep holiday roots is balancing innovation with tradition. “We consistently hear that consumers don’t feel it’s Christmas until they see the timely and timeless Coca‑Cola advertising they know and love,” he said. “While our expression changes year after year, the fundamentals stay the same. People want authentic, genuinely touching storytelling that makes Coca‑Cola special.” Pratik Thakar, global vice president and head of generative AI, highlighted how AI enhanced production: “Leveraging advanced GenAI tools, we controlled every cinematic detail, from camera angles to physics-driven realism, with intuitive visual annotations mimicking a director’s workflow. Most revolutionary is our seamless narrative continuity and character consistency, crafting immersive stories that resonate deeply. This is more than filmmaking — it’s a transformational leap into the future of creativity and technology.” Thakar emphasised that human creativity remains central. “The music in the films was performed and sung by real artists. AI is a human enabler, making what was previously impossible possible, but creative ambition, direction and thought leadership has and always will be human-led.” Coca‑Cola’s investment in AI reflects its ongoing digital transformation. “Last year we set a global milestone with the world’s first entirely GenAI-created broadcast film,” Thakar said. “This year’s campaign is another proof point in our journey of using emerging technology to rethink how we create and scale content.” MARKETING-INTERACTIVE has reached out for more information. The move builds on the brand’s 2024 experimentation with AI in its holiday advertising, which also drew mixed reactions. That year, Coca‑Cola’s AI-generated reboot of “The holidays are coming” blended sweeping shots of nature, iconic truck caravans, and festive neighborhood scenes. While some praised the efficiency and technical execution, others found the ad “distasteful,” “soulless” or “uninspiring”. Related articles: UNIQLO Malaysia responds to claims that Oriental Kopi collab artwork was AI-generated  UK models launch petition to protect likeness from AI misuse   PepsiCo says it will be ‘agentic AI-first’ by 2026 source

Mount Elizabeth Royal Square has unveiled its day surgery and endoscopy centre with the “All in a day” campaign. Designed to highlight the centre’s purpose-built facilities and patient-focused approach, the campaign positions Mount Elizabeth Royal Square as a standout option in Singapore’s competitive day surgery market, appealing to both patients and healthcare professionals. The campaign, created in collaboration with That Marketing Guy, includes B2B and B2C key art, website copy and layout, and out-of-home directional signage, all crafted to communicate the centre’s thoughtful design, convenience, and specialist services. Inspired by the patient journey and the quality of care from the moment patients step through the doors, the slogan “All in a day” captures the meticulous planning and attention to detail that went into the facility’s design. “All in day” carefully navigates Ministry of Health advertising regulations, ensuring clarity and compliance while communicating Mount Elizabeth Royal Square’s patient-centric approach. By combining creative storytelling, educational content, and strategic brand messaging, the campaign aims to strengthen awareness, engagement, and trust for the new day surgery and endoscopy centre, while reinforcing Mount Elizabeth’s reputation as a pioneer in private healthcare services in Singapore. Don’t miss: Luckin Coffee and IMH turn art into action for mental health awareness  In addition to the centre launch, That Marketing Guy has brought its expertise from previous healthcare campaigns to the project. These include the “Headache campaign” which used illustrations to personify different types of headaches, helping audiences feel more informed and less intimidated by common medical concerns, and a Proton Therapy Centre keepsake, which celebrated patients’ recovery journeys and shared personal recipes, combining education with storytelling “Creativity in healthcare is a narrow but meaningful space where empathy and precision must work hand in hand within rightly strict advertising guidelines. We’ve valued the opportunity to tackle these challenges alongside IHH and the brands within its portfolio — exploring how creativity and compliance can coexist to deliver healthcare communication that is both human and effective,” said Will Lee, founder of That Marketing Guy.  “With the launch of Mount Elizabeth Royal Square, our goal was to bring the trust and credibility of the Mount Elizabeth brand into a new, competitive space. The ‘All in a day’ campaign allowed the brand to communicate the benefits of its new purpose-built facility swiftly and tactfully with multiple stakeholders. Collaborating with a client that values storytelling, collaboration, and integrity has allowed us to bring these ideas to life meaningfully. Over the years, this partnership has shown that when creativity meets care, even within tight regulatory frameworks, it can lead to impactful healthcare storytelling,” he added.  The campaign and centre launch comes as IHH Healthcare unveiled a bold new corporate identity that unites its portfolio of hospital brands under one global brand. The rebrand, developed in partnership with brand consultancy Landor, marks a major milestone in IHH Healthcare’s multi-year transformation to make healthcare more connected, innovative, and sustainable. The new identity was officially launched on 28 August 2025 during IHH Healthcare’s inaugural FutureHealth.Now Conference in Kuala Lumpur, a flagship event that brought together over 300 leaders from healthcare, government, and business to explore the future of care. Visually, the refreshed identity strikes a balance between gravitas and warmth. It features dynamic, forward-moving forms to signal innovation and progress, alongside bold, structured elements that convey trust and authority. At the heart of the design is a flexible network of nexus nodes, inspired by how cells grow and connect, a metaphor for IHH Healthcare’s ability to expand knowledge, expertise, and care across its global footprint. Related articles:  IHH Healthcare unveils new global identity as part of transformation journey  Bayer consolidates global consumer health marketing with IPG  Sentosa evolves brand to inspire wellness and balance with new campaign  source

This post is sponsored by MOONTON Games. Gaming and esports are no longer a niche – they have become an intersection where youth, gaming, and brands converge. And nowhere is this more evident than in Mobile Legends: Bang Bang (MLBB). As one of the most popular mobile multiplayer online battle arena games worldwide, the title has developed a loyal following with over 1.5 billion installations and 110 million active monthly users. With 60% of MLBB’s fanbase between the ages of 19 and 32, the game is the core of youth culture. For millions, MLBB is more than just entertainment – it’s a stage for connection and aspiration which has resulted in it becoming a powerful cultural touchpoint for today’s generation. MLBB esports fans cheering for their teams at the Axiata Arena in Kuala Lumpur. At the heart of MLBB’s popularity is its esports ecosystem. According to esports Charts, MLBB was 2024’s most-watched mobile esport with 475 million hours watched, the most-watched title in Esports World Cup history, and the first esports circuit to surpass one billion hours watched. These achievements earned MLBB industry-wide recognition. The title won ‘esports Mobile Game of the Year’ twice at the esports Awards, as well as ‘Most Competitive Game and Live Event of the Year’ (M5 World Championship) at the 2024 Mobies. At the pinnacle lies the M World Championship – better known as the M Series. This annual travelling spectacle began in Malaysia in 2019 and has since lit up Singapore, Indonesia and the Philippines. Each host city brings its own identity to the global stage, demonstrating how MLBB Esports flourishes as a cultural celebration and an international competition. A standout example of brand success was Fairrie. The Malaysian jewellery brand made its market entry through MLBB Esports and achieved a remarkable 6% conversion rate – three times the industry benchmark. As a newcomer in a space dominated by legacy names, Fairrie knew it needed to connect with the next generation of consumers. The brand recognised that for youth, gaming is self-expression, identity, and community. That insight shaped its launch strategy: to meet young consumers on the global stage where their passion burns the brightest. King “K1NGKONG” Perez of champion team, Fnatic ONIC PH, celebrates victory with the Fairrie-produced ring, medal, and trophy. At the M6 World Championship (M6), the brand unveiled accessories inspired by MLBB heroes (characters) and tournament champions, turning pieces into wearable symbols of victory. By weaving its products into the fan experience, Fairrie’s partnership went beyond visibility. The brand connected with a global audience and saw orders extended worldwide which established it as part of the global MLBB community. Fairrie was not the only brand that tasted success at the M6. From F&B to lifestyle, banking, and government sectors, every partner benefited. The 2025 M6 recorded 4.2 million peak concurrent viewers and over 85 million hours watched. A detailed case study by sponsorship analytics firm Shikenso Analytics and MOONTON Games revealed that the M6 generated over ~US$135 million in brand value for partners, ~US$74.5 million from streaming platforms, ~US$60.8 million from social media across 85 billion gross impressions, and 170 million hours of brand asset view time. This impact was a glimpse into why the M Series resonates so strongly with fans and brands. Official partners of the M6 World Championship. What makes the M Series so powerful is its dual appeal: local, yet truly global. Fans on-site immerse themselves in a celebration of local culture, while millions abroad tune in to be part of the global spectacle. The M6 was broadcast in 16 languages, tailoring the experience across regions while making every moment feel universal. For partners, this balance of local flavour and global scale creates a unique marketing platform – one that delivers worldwide reach, yet resonates with each community. Casters showcasing official snack partner, Meiji, across different language streams. This dual appeal is also reflected in the structure of MLBB Esports itself. The M Series is the pinnacle of MLBB competitiveness, where regional leagues feed onto the international stage. From the MLBB Professional League (MPL) powerhouses in Indonesia, the Philippines and Malaysia – where millions of fans rally behind their teams – to emerging regions such as Eastern Europe, Central Asia, and Japan, every league carries its local identity while contributing to the global spectacle. MPL Indonesia alone has demonstrated this momentum, with each of its past four seasons surpassing 100 million hours watched. At the heart of this is the MPL ID Festival, where the finals are reimagined as a five-day celebration of MLBB esports. Fans fill the city with energy through watch parties, celebrity show matches, parades, cosplay, and appearances by MPL Indonesia stars. This blend of competition and culture highlights the deep engagement MLBB inspires, and the opportunities to connect with a generation that lives the game and the lifestyle around it. Thousands of MLBB Esports fans pack the Jakarta International Velodrome as the MPL ID Festival comes alive. Ringo Lung, senior regional esports sales manager at MOONTON Games, said: “What’s special about the M Series is its ability to connect brands with youth on multiple levels. Being a mobile game, MLBB is incredibly accessible since fans can engage anytime and anywhere. “Locally, we create opportunities for authentic cultural engagement. Across the world, we have unmatched reach through one of the largest gaming and esports ecosystems. It’s this mix of accessibility, local relevance, and global scale that makes MLBB Esports such a powerful space for partners who want to build lasting connections with the next generation of consumers.” As MLBB continues to expand, the M Series demonstrates how esports is not just a competition. For partners, it serves as a gateway to be a part of a phenomenon that millions experience on their phones and in arenas. As the M7 World Championship approaches in January 2026, the seventh iteration aims to continue this tradition, giving fans – and brands – another front-row seat to the action. Reach out to work with us: [email protected]. source

Geneco is celebrating the festive season with a campaign that shines a light on love, resilience, and the power of second chances. Titled “Star light, star bright”, the initiative brings together community partners including Yellow Ribbon Project, The Salvation Army’s Children & Youth Group – Kids In Play, Science Centre Singapore, and Families for Life to highlight stories of unconditional family love through art. Marking its third consecutive year of partnership with Yellow Ribbon Project and its first with The Salvation Army’s Kids In Play group, Geneco has unveiled a collection of artworks co-created by incarcerated mothers and their children. The pieces — ‘Hopish’, ‘Strength within our stars’, ‘You are the aurora of my life’, and ‘The shooting stars of our hopes and dreams’ — were completed during a rare open visit in September, where families reunited to paint their shared stories of hope and renewal. Each painting is accompanied by a personal note from the mothers, offering a glimpse into their experiences and the inspiration behind their work. The artworks will be displayed as part of Geneco’s first-ever roving art gallery, which will tour Singapore from 1 to 31 December. Acting minister-in-charge of Muslim affairs and senior minister of state for home affairs, associate professor Muhammad Faishal Ibrahim, will officiate the launch at Hillion Mall. Don’t miss: Geneco celebrates the beauty of losing your way in latest mental health campaign The roving gallery will showcase the “Star light, star bright” paintings, the campaign manifesto, and additional curated artworks by inmates, with proceeds supporting rehabilitation and reintegration programmes. It will be open daily from 10am to 10pm at Hillion Mall (1–7 December), PLQ Plaza (8–14 December), and 270 Orchard Road outside Adidas (15–21 December). Members of the public can vote for their favourite paintings on the campaign microsite, with each vote contributing to Geneco’s SG$10,000 donation to the Yellow Ribbon Fund. Participants also stand to win one of five SG$100 eCapitaVouchers, a set of limited-edition “Star light, star bright” greeting cards, and a Yellow Ribbon Bakery ‘Wishing star’ cookie bundle. “As a brand, our purpose has always been to #PowerTheChange by building a more compassionate and inclusive Singapore,” said Alex Chan, head of brand, communications and marketing at Geneco. “Family bonds are the cornerstone of resilience and renewal, especially for those navigating challenging circumstances. We’re heartened to partner with Yellow Ribbon Project, The Salvation Army, Science Centre Singapore, and Families for Life to create shared spaces that inspire hope and connection.” The campaign also extends into other touchpoints across Singapore. In collaboration with the Yellow Ribbon Bakery, Geneco will launch limited-edition festive cookies handcrafted by inmate-bakers, wrapped in packaging inspired by the “Star light, star bright” paintings. Available at the roving art gallery and online, each purchase symbolises support for second chances and rehabilitation through skill-building. “Strategic partnerships with corporates such as Geneco are vital in enhancing the ecosystem of support for inmates, ex-offenders and their families,” said Saraswathy Gunasegaren, assistant director (aftercare) at Yellow Ribbon Project. “Geneco’s campaign sheds light on the importance of positive family relationships that serve as essential support systems upon inmates’ release. Such initiatives help families stay connected in constructive ways, which is crucial for successful rehabilitation.” In another collaboration, Geneco and Science Centre Singapore will host a private stargazing session and Omni-Theatre screening for children of incarcerated parents and their caregivers, echoing the campaign’s theme of guidance and renewal under the stars. “At The Salvation Army’s Kids In Play, family is a key pillar in an inmate’s integration journey,” said Karen Soh, assistant manager at the organisation. “Hope gives light in the darkest moments, and strengthened family bonds provide an anchor in times of uncertainty. Through this partnership with Geneco, we can remind families that reintegration is possible when the community believes in second chances.” The storytelling element also extends digitally. Geneco will release What motherhood looks like behind bars, a short film featuring candid interviews with two incarcerated mothers who share their reflections on motherhood, forgiveness, and rebuilding family bonds. Meanwhile, its collaboration with Families for Life builds on the “Real families real stories” initiative, themed “Light that never fades” this festive season. Between 1 September and 6 October, the collaboration invited Singaporeans to share personal reflections on love, family and resilience, drawing over 140 heartfelt submissions. These stories, featured on Geneco’s microsite and social platforms, underscore Singaporeans’ desire to celebrate unity and strength in family ties. This latest campaign follows Geneco’s 2024 initiative “Till the end of time”, which focused on empowering second chances and reintegration for ex-offenders. The campaign, developed in collaboration with New Life Stories, Yellow Ribbon Project, and CANVAS, centred on the book Love beyond the walls: Till the end of time, co-created by Geneco and New Life Stories. The collection featured ten heartfelt narratives written by incarcerated parents to their children, alongside a foreword by President Tharman Shanmugaratnam, underscoring the importance of family bonds in breaking cycles of intergenerational incarceration. Related articles:   Singapore Prison Service shows off vocal chops in original song Real life incarcerated parents write stories for their children in Geneco new book  Geneco fosters hope for ex-offenders with Yellow Ribbon partnership  source

Cigna Healthcare Singapore has appointed Jaslyin Qiyu (pictured) as its new chief marketing officer and head of customer experience for Singapore and Australia. She will be reporting to Robert Peat, CEO of Cigna Healthcare, APAC.  Based in Singapore, Qiyu will oversee marketing strategy and customer experience initiatives across both markets. She will be responsible for developing and executing integrated marketing strategies, enhancing customer engagement, and driving brand growth in the region. Qiyu brings over two decades of experience in marketing, digital transformation, and customer engagement. Most recently, she served as managing director of Mad About Marketing Consulting, a fractional marketing consultancy offering B2B and B2C marketing, communications, martech, and change management advisory services across Asia. Don’t miss: Marketing veteran Gary Wise returns to PURE as CMO Prior to that, she was head of client marketing and digital capabilities at Citibank Singapore, where she led client-focused marketing initiatives and strengthened the bank’s digital capabilities. According to her LinkedIn, Qiyu served as senior director and head of Southeast Asia marketing at JLL in 2019, where she led marketing strategy and regional team management across the ASEAN-6 markets. She also spearheaded localised content strategies to elevate the profile and visibility of the firm’s subject matter experts in the region. Before that, in 2018, she was regional director and head of marketing for Asia at Kantar, where she led B2B marketing strategies and the regional rebranding of One Kantar across key markets including China, Indonesia, Korea, Malaysia, the Philippines, Taiwan, Thailand and Vietnam. Earlier in her career, Qiyu held roles at EY, State Street and OCBC. In conversation with MARKETING-INTERACTIVE, Qiyu said, “I am honored and excited with the opportunity to help solidify Cigna Healthcare’s position as the leading healthcare provider in this region.” MARKETING-INTERACTIVE has reached out for more information.  Her appointment comes as several brands in the health and wellness space continue to strengthen their marketing leadership. In August this year, Novi Health named Tempest Jody Larrichia as head of growth, overseeing the brand’s growth, marketing and partnerships. The appointment was aimed at cementing Novi’s position as a leading destination in the health longevity and preventative care space. Larrichia, formerly chief marketing officer at Flash Coffee, said his focus will be on complete brand alignment — spanning social, advertising, community, partnerships, copy, website, and the overall look and feel of Novi’s clinics — to ensure unified client-facing experiences across communications, customer service and packaging. Related articles: Mastercard names Accenture veteran global CMO as Raja Rajamannar steps down    Driscoll’s appoints ex-Zespri CMO to newly created global role   HSBC names global CMO source

Gentle Monster is taking Halloween weekend to a whole new level. The brand has unleashed its 2025 Fall Collection with THE HUNT, a one-minute fever dream of a campaign starring Hunter Schafer and directed by Nadia Lee Cohen. The campaign is a suburban nightmare meets horror film hall of fame with nods to Scream, The Shining, Smile, Halloween, Funny Games, and even a wink to Stephen King’s IT character Georgie Denbrough. Don’t miss: Back to the 90s? Can celebrity ads make denim relevant in 2025? The film, shared on Gentle Monster’s Instagram, opens with a woman hiding in a bush, filming Schafer dancing alone at home in a sparkly red dress. The observer is soon murdered, her body dragged by three shadowy figures to Schafer’s front door. When the doorbell rings, Schafer approaches and in a chilling nod to classic horror, braces the door with her body as the attackers smash through on either side. She scrambles, only to find more masked assailants waiting outside her bedroom. One shatters a glass window, and when it removes its mask, it reveals Schafer’s face, grinning eerily through tears. The music swells as Schafer flees, racing down the street with the attackers in pursuit. She jumps into her car and drives off, only to discover another assailant in a yellow raincoat sitting silently in the backseat. The film closes in a harrowing final moment: Schafer’s head slams against the steering wheel, lifeless, as the yellow-coated attacker walks away, leaving the mask it once wore discarded on the ground. The film was first teased six days ago with a spine-tingling video featuring a door marked ‘1107’ and an axe smashing through, inching closer to the screen in a bone-chilling 3D effect. Some spotted a The Shining “Here’s Johnny!” callback, while others hilariously guessed a collab with Choi Yeon-jun (whose album also drops 7 November). Safe to say, horror wins and K-pop loses when Gentle Monster dropped the poster to THE HUNT two days after the teaser. THE HUNT premieres on 29 October, leading into the global launch of Gentle Monster’s Fall 2025 collection: US and Canada on 6 November, and Korea, China, Japan, Singapore, Australia, plus other regions, on 7 November. With Halloween around the corner, brands are leaning into horror to capture attention and spark conversation. Closer to home, Fanta has teamed up with Universal Pictures to summon horror icons Freddy Fazbear from Five Nights at Freddy’s, M3GAN, and Chucky onto limited-edition orange and grape Halloween packaging, ahead of the sequels Five Nights at Freddy’s 2 and M3GAN 2.0. The partnership aims to make Fanta the definitive drink for Halloween by linking its fun, mischievous spirit with Universal’s iconic horror universe, turning the festival into a playful, cinematic experience that resonates with Gen Z and drives engagement, cultural relevance, and sales.  Related articles:  Fanta summons horror icons on Halloween packaging  McDonald’s serves up ‘Thai-kejut’ thrills with a spooky comedy twist  POCARI SWEAT’s Ramadan ad turns dehydration into horror story  source

StarHub has appointed PHD Singapore as its media agency. A StarHub spokesperson confirmed to MARKETING-INTERACTIVE that the appointment is for a two-year period. The spokesperson said that PHD was appointed for its strong alignment with StarHub’s full-funnel strategy, as well as its proven strengths in performance and measurement. “This marks the start of a new phase for us – after strengthening our foundations over the past two years, we’re now focused on accelerating growth and elevating performance,” the spokesperson said.  Don’t miss: Virgin Active picks media agency for SG and TH Together with PHD, StarHub aims to advance both strategy and measurement to boost efficiency and effectiveness, while integrating media and content more closely so that creativity and data can work seamlessly to deliver meaningful impact. Sumiati Hashim, managing director of PHD Singapore, said, “StarHub’s ambition to drive meaningful impact through innovative media strategies aligns with PHD’s ‘Intelligence. Connected’ vision of combining data and technology to drive measurable outcomes.” “We look forward to partnering a progressive client such as StarHub, leveraging our expertise in performance and measurement, and uniting our strategic talent to help the brand outthink, outpace, and outgrow the competition while building authentic connections with its consumers,” Hashim added. According to Nielsen AdEx, StarHub’s annual adex is estimated to be SG$13.1 million. The incumbent on the account was WPP Media’s Mindshare, which was appointed in 2022. StarHub also previously worked with Carat as its media agency. The new media appointment also follows a week of strategic moves by StarHub to strengthen its position in Singapore’s media and entertainment ecosystem. Earlier this week, StarHub and Mediacorp unveiled a strategic partnership aimed at reshaping Singapore’s media and entertainment landscape. Under the collaboration, Mediacorp’s streaming service mewatch will host StarHub TV+ content packages, giving viewers access to StarHub’s premium line-up, including global blockbusters, live sports such as the Premier League, cricket, golf and racket sports, alongside curated Asian dramas and popular TV shows, in one destination. PHD has also seen recent regional wins. In July, global health club chain Virgin Active appointed PHD as its media agency for Singapore and Thailand, following a competitive pitch against three other agencies. Under the remit, PHD handles full-funnel media strategy, planning, buying and performance management across all channels, including digital, social, search, offline media and data analytics. Related articles: Emirates picks new global media agency    Mandai Wildlife Group hunts for media agency   Warner Bros. Discovery appoints new media agency source

SPH Media has merged The New Paper (TNP) and Stomp under a refreshed website that aims to blend bold journalism with community-driven storytelling. The new platform, which officially launched on 30 October, will retain the Stomp masthead and introduce new features designed to engage younger audiences while keeping long-time readers on board. In a statement, SPH Media said the merger marks the next step in its ongoing effort to refresh its digital products and strengthen its brands’ relevance. Don’t miss: The Straits Times marks 180 with digital revamp and shift in news reporting  “It is timely for us to reshape them to better resonate with our younger audience and reach out to newer readers,” said SPH Media. “The refreshed Stomp harnesses Stomp’s strong digital reach and community-driven content, and TNP’s editorial credibility and heritage in quality and bold journalism, and delivers a richer and more engaging experience for our audiences.”  “We thank our loyal readers of TNP for their support over the years, and look forward to welcoming them to Stomp, where they can continue to enjoy the stories, insights and distinctive perspectives they know and trust,” added SPH Media. The move sees TNP, launched in 1988, integrated into Stomp, which first debuted in 2006. The company said the updated format “builds on combined strengths to create something stronger, yet familiar.” The new site will feature a TNP News section for viral happenings, lifestyle trends, entertainment updates, sports highlights, and in-depth news features. It will also introduce a Deep Dive segment focused on explainers, profiles, and community stories exploring issues that shape everyday life. Signature Stomp features will continue under the Singapore Seen and Stomping Ground labels, alongside a new Hot Takes section that allows journalists to share their perspectives. Interactive updates include in-article polls, an AI-powered story summariser, and an “ICYMI” bar highlighting top-performing stories. Reaction and comment functions remain active to encourage reader participation. On social media, Stomp’s Instagram and TikTok pages will see more original and youth-focused content. Leading the refreshed site is Joy Fang, editor of Stomp and The New Paper, who rejoined SPH Media in April 2025. Fang has previously held editorial roles at My Paper, Today, and MS News. In a note shared on the Stomp site, Fang said the merger was not about phasing out either brand but about evolving them together. “It’s not about losing either TNP or Stomp,” she said. “It’s about coming together and keeping alive what made them great, the grit, the audacity, the sharp instincts. and carrying that forward into something new.” Fang added that both titles were products of their time, but their spirit remains vital today. That ethos is reflected in the refreshed Stomp tagline: “Real. Vocal. Impactful.” “This is the beginning of a new chapter we get to write with you. We will never forget what made both TNP and Stomp so special — and with your voices alongside ours, we’ll create something even stronger,” she said.  TNP’s standalone website will cease operations from 1 December 2025, with its past content available under the new TNP News section on Stomp. This merger continues a trend of Singapore media outlets consolidating and transforming their digital offerings. In 2021, TNP went fully digital, ending its print edition on 11 December as part of SPH Media’s digital acceleration strategy. Former editor Lim Han Ming said at the time that TNP would continue delivering human interest stories and street-eye perspectives of heartland life. Similarly, in 2024, Mediacorp merged digital media outlet TODAY with the CNA newsroom. Post-merger, TODAY became CNA’s digital long-form weekend magazine, focusing on analytical features, ground-up news stories, human interest interviews, and opinion pieces, reaching both Singaporean and overseas audiences. Related articles:    PR Newswire partners SPH Media to expand SG reachSPH Media spends SG$3m in subsidies to support newspaper delivery  SPH Media lays off staff amid tech division restructure   source

When Chinese actress Fan Bingbing was appointed as Melaka’s tourism friendship ambassador in August, and subsequently conferred a “Datuk” title, the news quickly became a social media talking point. Her appointment was credited with boosting Chinese tourist arrivals from 204,818 in 2023 to 664,687 in 2024, alongside reports of over 1.5 billion WeChat impressions from her campaigns. Fan was appointed Melaka’s state tourism ambassador mid-last year to promote Visit Melaka 2024, the state’s campaign aimed at repositioning itself as a key global destination. As part of her role, she has visited major tourist spots and showcased local culture, from traditional attire to tasting local delights such as durian cendol. Beyond the headlines and viral posts, the conferment of the Datuk title on Fan has reignited discussion around the strategy of appointing foreign celebrities as tourism ambassadors. Don’t miss: From fame to fit: What brands need for the perfect ambassador Online sentiment around Fan Bingbing’s appointment as Melaka’s tourism friendship ambassador has been largely positive, driven by pride and recognition, Isentia reported. Posts celebrated the ceremony with messages, photos, and short videos tied to Melaka’s tourism efforts. Support was strongest in Malay and Indonesian posts, where language and cultural familiarity boosted engagement. Some scepticism arose over the “value and cost of the title,” with phrases like “celebrity price tag” and “honorary Datuk title” appearing in discussions. Overall, 66.2% of mentions were positive, 22.7% neutral, and 17.2% negative. Criticism centred on Fan not being Malaysian and rumours linking her to a local entrepreneur, though these were outweighed by messages celebrating her recognition and the attention it brought to Melaka. Nikita Gundala, SEA marketing lead at Isentia, said cultural resonance and pride drive strong engagement. “It’s a signal to PR and communications leaders to prioritise authenticity and transparency as much as possible,” she said. “Because audiences value this.” Looking beyond the online chatter, Fan Bingbing’s Melaka moment raises the question: how effective is an international ambassador in the long run, and what are the potential risks? Storytelling is everything Fan’s appointment is also part of a growing global trend of leveraging high-profile foreign celebrities to boost tourism. From BTS for South Korea, Lionel Messi for Saudi Arabia, Shah Rukh Khan for Dubai, to Jackie Chan for Hong Kong, destinations are increasingly recognising the reach and influence that internationally recognised personalities can provide. Sharifah Menyalara Hussein, CEO and founding partner of M+C Saatchi Malaysia, stressed that tourism is ultimately about storytelling, and the right storyteller can change everything. A global ambassador isn’t just a face for a campaign. “They can transform how the world sees a place and how quickly audiences are drawn to experience it.” she added. International celebrities can elevate a destination’s profile almost instantly, building awareness and credibility far faster than traditional campaigns. Fan Bingbing, Sharifah noted, brings “enormous visibility and aspiration to Melaka in China, something a local figure simply couldn’t achieve there.” She also highlighted the ambassador’s role in amplifying local culture: “When someone like Fan Bingbing experiences Melaka’s culture, heritage and food and shares that with millions, she becomes a cultural bridge. Her followers are inspired to come and experience the same things she did.” Foreign vs local However, should Melaka have considered appointing a local celebrity instead? All three industry players which A+M spoke to, emphasised that foreign and local figures play complementary roles. Shermaine Wong, co-founder and CEO of Cult Creative, said that “picking a foreign celebrity is like borrowing trust from someone with a large fan base. They can help open new markets that were previously out of reach.” She added: “The best campaigns continue to tell stories and engage audiences even after the initial announcement.” Local figures, meanwhile, provide cultural grounding and long-term connection. Stephanie Looi, country general manager of Hepmil Malaysia, said: “The best strategy isn’t to pick one over the other, but to combine both. global stars to pull attention in, and local heroes to showcase the heart of the culture.” Wong concurred, and shared that having international reach provides visibility, but authentic local experiences create lasting influence. A celebrity can bring fame to your destination, yet only locals can add depth and authenticity. She suggests combining star power with local creators who excel at conveying culturally rich, emotionally compelling stories, for a combination that ensures an enduring impact. Risks and measuring impact Celebrity campaigns are not without risks. Sharifah stressed the importance of strategic market focus. “Would we consider using an Indian star to promote Malaysia to Indian travellers, or is China the main focus? These are important questions when planning for the long term.” She explained, that her main concern was cost. “These partnerships are expensive, and may have a limited campaign window. It’s important to think strategically about the markets we want to prioritise and how we use the ambassadors.” Meanwhile, Looi warned that “if the partnership feels fake, people can see through it. Celebrities are human too; if they get into controversies or bad press, it can reflect badly on the destination.” Wong added that celebrities may overshadow local culture if not managed carefully, but with the right approach, “celebrities can draw attention while giving local voices a platform to share authentic stories.” Additionally, measuring success for such campaigns requires looking beyond impressions. Looi explained: “True ROI for tourism needs to cover the whole journey. At the awareness stage, I’d look for social-first signals. Then at the consideration stage, I would see if people are engaging with destination content, saving posts, tagging friends or clicking through to tourism websites.”  Impressions are just the starting point. The real ROI is when social buzz turns into travel intent, and then into real-world impact. And that’s tourists who not only travel to the destination, but stay longer, explore more, and spend in ways that benefit the local community. Related articles:HK eyes Michelle Yeoh as tourism ambassador, while debate in MY ensues around Yeoh and tagline Melaka picks actress Fan Bingbing as ambassador to promote tourism | Marketing-InteractiveMelaka trends on WeChat following Fan Bingbing’s ambassador role