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Happy Friday, MARKETING-INTERACTIVE readers and welcome back to Gen Z Perspectives, your go-to feature where we unpack the week’s top stories and trending topics through the eyes of Gen Z. From the biggest industry moves to viral moments and marketing controversies worth dissecting, we’re bringing the heat with authenticity, awareness and probably a few unfiltered takes. As the year winds down, we’re looking back at the stories that had everyone talking: big moves, bold campaigns and the agency shakeups that made headlines. Thanks for riding along this year. We’ll see you in 2025. Don’t miss: Gen Z perspectives: Omnicom-IPG restructure, Agency Agenda & Shangri-La’s global media pitch 1. 5 people movements that caught the Malaysian industry’s attention Leadership transitions have taken centre stage in Malaysia’s corporate and marketing landscape this year, with key organisations strengthening their communications, customer experience, and brand strategy capabilities. Across sectors ranging from telecommunications and finance to FMCG, automotive, and national institutions, companies are appointing leaders who bring deep expertise in stakeholder engagement, transformation, and reputation-building. In this roundup, we spotlight five influential people moves shaping Malaysia’s leadership landscape—highlighting the appointments, the experience behind them, and the signals they send for the year ahead. Read more here.  2. 2025 in review: Campaigns that turned heads in Singapore 2025 has been a wild ride for marketers. From nostalgia-fuelled activations that brought memories back to life, to unexpected collaborations that had Singaporeans stopping in their tracks, and food-focused campaigns that turned ordinary moments into shareable experiences, brands pulled out all the stops this year. Creativity has been at an all-time high, and the results prove that you don’t need a screen to make an impact. Here’s our roundup of the five campaigns that truly defined the year, proving that marketing isn’t just about selling; it’s about creating moments people actually remember. Read more here.  3. When scale meets strategy: Agency shake-ups that shaped 2025 2025 has been a transformative and highly dynamic year for the global marketing and advertising industry. Holding companies and major agencies moved aggressively, reshaping the landscape through mergers, acquisitions, realignments, and rebrandings. Longstanding rivalries ended, reporting structures were overhauled, and global networks expanded its creative and data capabilities in pursuit of scale and efficiency. We have tracked five of the biggest agency shake-ups this year, highlighting just how fast the landscape is evolving. Read more here.  Related articles: AI tools and innovations that reshaped marketing in 2025    2025 in review: Malaysia’s campaigns that won hearts and feeds  People movements that caught Singapore’s eye in 2025 source

Pizza Hut Singapore has teamed up with designer toy brand POP MART to launch a limited-edition Molly merchandise collaboration exclusive to the local market. Launching on 15 December, the collection will be available only via Pizza Hut’s website and app, with no retail or POP MART store distribution. The collaboration features three original Molly designs created exclusively for the brand: Tropical Molly, Skater Molly and DJ Molly. The merchandise lineup includes a Tropical Molly water tumbler, Skater Molly and Tropical Molly tote bags with charms, as well as a DJ Molly keychain and Tropical Molly PopSocket. All items are available while stocks last. Don’t miss: POP MART cracks open SEA’s collectibles craze with Lazada partnership To purchase the collectibles, customers must order any cheesy bites bundle via the Pizza Hut app or website and select the “Molly add-on” within the bundle. The merchandise is limited to delivery and self-collection orders and will not be available for walk-in purchases. In conversation with MARKETING-INTERACTIVE, Jayss Rajoo, director of marketing and food innovation at Pizza Hut, said the choice of Molly was driven by the rising appetite for pop-culture collectibles among Gen Z and millennial consumers. She said the collaboration is designed to enhance meal appeal while tapping into the collector market to drive traffic. “Molly embodies the spirit of fun, independence, and celebration,” Rajoo said, adding that the partnership aligns with Pizza Hut’s festive theme of “Do merry your way” by encouraging consumers to celebrate in ways that reflect their personal identity. She added that the primary audience includes Molly collectors, pizza lovers and consumers seeking festive collectibles, with the broader aim of attracting new fans while deepening loyalty among existing customers. Marketing efforts for the campaign are centred on digital and social platforms, which Rajoo said closely mirror Molly’s audience behaviour. The app- and website-exclusive mechanics are intended to create a seamless digital purchase journey, supported by social content designed to build excitement around the collaboration. While Rajoo said Pizza Hut continues to explore different partnership formats that resonate with customers, she described the POP MART collaboration as a way for the brand to extend beyond the dining experience by offering exclusive collectibles that add “an extra layer of excitement and delight.” She added that the brand remains open to future collaborations with other designer toy partners. The festive collaboration taps into the growing popularity of collectible culture while giving fans a Pizza Hut-exclusive take on the globally recognised Molly character. The POP MART collaboration builds on Pizza Hut Singapore’s broader push into collectible-led marketing this year. In April, the brand launched a limited-edition plushie named “Sir Melts-a-Lot”, inspired by its cheeseburger melts, as part of a strategy to tap into nostalgia and self-expression among Gen Z and millennial consumers. Positioned as more than a novelty item, the plushie was part of Pizza Hut’s wider effort to reclaim joy and play in 2025. Designed with a detachable patty and multiple customisation options, “Sir Melts-a-Lot” was packaged in a bespoke box tailored for its style-conscious audience. Beyond Pizza Hut, POP MART has also ramped up brand partnerships across Southeast Asia as lifestyle collectibles continue to gain traction in mainstream F&B marketing. In September, modern tea brand CHAGEE teamed up with POP MART’s Hacipupu character to launch a limited-time green grape milk tea alongside exclusive merchandise across Singapore, Malaysia, Indonesia and Thailand. The regional campaign was designed to fuse the ritual of tea drinking with collectible culture, anchored by “CHAGEE’s little champion”, a tennis-inspired pop-up experience aimed at driving foot traffic and social sharing. Related articles: Pizza Hut SG stretches into pop culture with Fantastic Four-inspired pizza    Pizza Hut SG serves style with first streetwear collab    From crust to cuddles: Pizza Hut SG launches cheeseburger-inspired plushie source

Valerie Madon has stepped down from her role as chief creative officer for Asia Pacific and Singapore at McCann Worldgroup. Going forward, creative leadership will sit fully within the Singapore model under Daniel Kee, augmented with additional Omnicom Advertising talent where appropriate, confirmed Sean Donovan, president, Omnicom Advertising Asia. Donovan added that Madon has been “a tremendous ambassador for the agency and for creativity across the region, shaping work, teams and culture with heart and conviction. We are deeply grateful for her impact and leadership through a period of transformation.” Madon said, “The incredible clients and team I’ve worked with have reinforced how precious human creativity still is, even in an AI-driven world.” “I’m grateful for my time at McCann and am excited to see where my creative hunger and brand-building experience will take me,” she added. Madon most recently served as chief creative officer for Singapore from March 2025, alongside her role as chief creative officer for APAC, which she has held since August 2023. She was also appointed chief creative officer for Southeast Asia in May 2023. During her time at McCann, Madon was the APAC creative lead for Mastercard and Ferrero. Drawing on her experience at Meta, she has also strengthened McCann Content Studios APAC by blending data-driven insights with platform creativity, securing social-led wins for brands such as L’Oréal Thailand and Chick-fil-A Singapore. Don’t miss: How are industry players coping with the consolidation wave? At McCann, Madon launched and led the ‘Ambition Collective’, an APAC programme designed to train and showcase emerging talent. She was also instrumental in the success of ‘Shape My Portfolio’, a mentorship platform she introduced in 2024 that offered aspiring creatives one-on-one portfolio reviews from industry leaders. Madon joined McCann from Meta, where she was director of creative shop for SEA and emerging markets. Before that, she was chief creative officer, Asia at VMLY&R, where she also served as global creative lead for Zespri.  Her earlier roles include SEA chief creative officer at Havas, head of creative shop, SEA at Facebook, and chief creative officer at JWT Singapore, with previous stints at Publicis Modem Singapore, Leo Burnett and XM Asia Pacific. Madon’s departure comes as McCann and MullenLowe Singapore are set to combine under the leadership of Paul Soon. Soon was previously CEO of MullenLowe Singapore and will continue as the new CEO of McCann Singapore. Leading alongside Soon is Gonzalo Olivera who will become the merged organisation’s new president from 1 January. Olivera was previously managing partner of MullenLowe Singapore.  Brandon Cheung, CEO of McCann Singapore and Southeast Asia, will support the transition into early 2026. The move follows the Omnicom–IPG merger, which is streamlining roles across the new combined group and retiring several longstanding agency brands, including DDB, FCB and MullenLowe, as networks consolidate into three global creative networks: BBDO, McCann and TBWA. Despite the consolidation across several global networks, TBWA’s leadership structure for Greater China, Singapore and Malaysia will remain unchanged following the merger. Under the current structure, Joanne Lao will continue as CEO of TBWA Greater China, Mandy Wong will remain as president of TBWA Singapore, while Yee Hui Tsin stays on as CEO of TBWA Malaysia. In a statement to MARKETING-INTERACTIVE, a spokesperson from Omnicom Advertising said its leadership structure in Asia remains unchanged due to the complementary footprint of the Omnicom Advertising and IPG creative agency brands. Some new roles will be announced in January. Related articles:  DDB SG CEO Jeff Cheong parts ways with Omnicom as merger retires legacy brands Leigh Terry exits IPG Mediabrands APAC amid Omnicom–IPG integration   James Hawkins departs IPG Mediabrands APAC as merger reshapes region      source

Mister Men, a Sanrio Group company, is set to develop a Mr. Men Little Miss feature film in collaboration with production company Heyday Films and studio STUDIOCANAL. Originally launched as a series of children’s books in 1971, Mr. Men Little Miss celebrates emotions, individuality, and universal storytelling, values established by Roger Hargreaves. Since its acquisition by Sanrio in 2011, the brand has expanded globally while staying true to its original spirit. Today, its colourful cast now spans over 90 characters, including special editions inspired by cultural figures.  In collaboration with the studios and producers behind Paddington, the film adapts the beloved, globally iconic characters created by British writer and illustrator Roger Hargreaves. It brings the ambition, humour, and imaginative world of Mr. Men Little Miss to the big screen for the first time, offering a visual and emotional family experience that delights both children and adults. This film builds on two recent developments in the Mr. Men Little Miss universe: the animated series currently streaming on YouTube and a second animated series in production for television. Together, these initiatives highlight Sanrio’s strategy to expand the brand into dynamic entertainment platforms while maintaining publishing as its foundation. Blending a rich heritage with fresh storytelling, the film will honour the humour, personality and warmth that made the original characters iconic, while inviting new audiences around the world to discover Mr. Men Little Miss in a bold, contemporary and cinematic way. Don’t miss: Sanrio’s Hangyodon makes a splash at the Singapore Oceanarium Tomokuni Tsuji, president and CEO, Sanrio, said: “We are thrilled to share Mr. Men Little Miss—one of Sanrio’s strongest IPs with British iconic roots—with audiences worldwide through this film. With more than 90 characters, Mr. Men Little Miss stories will serve as ambassadors of joy, creating smiles and widening the circle of happiness.” “In collaboration with STUDIOCANAL and Heyday Films, whose award‑winning creativity we deeply admire, this project advances our long‑term vision to build an IP platform delivering next‑generation joy as a global entertainment company,” he added.  David Heyman, producer, Heyday Films, said: “The globally beloved books of Mr. Men and Little Miss offer an irresistible opportunity for a bold and imaginative feature film adaptation.  I’m delighted to be partnering with STUDIOCANAL and Sanrio on what promises to be a captivating new creative adventure in the evergreen world of Mr. Men and Little Miss.” Anna Marsh, CEO of STUDIOCANAL, chief content officer of CANAL+ and deputy CEO of CANAL+, said: We are so thrilled and honoured to be working with our close friends and partners at Heyday and Sanrio in bringing Hargreaves’ wonderful and iconic characters to the big screen for the very first time. An incredible privilege, and an undeniable opportunity for joy, mischief, and adventure – that we know will inspire and delight theatrical audiences, young and old, around the world today. We can’t wait to get started!” MARKETING-INTERACTIVE has reached out to Sanrio for more information. Related articles: CHAGEE and Sanrio sweeten the holidays with Tanned Hello Kitty collabFestival Walk taps Sanrio and Baby Mirror to celebrate ChristmasSanrio’s Hangyodon makes a splash at the Singapore Oceanarium source

The global advertising revenue is expected to grow by 8.8% in 2025, reaching US$1.14 trillion, with a 7.1% growth projected for 2026, according to a report by WPP. Titled “This year next year”, the 2025 end-of-year advertising forecast aims to provide a fresh perspective on how global trends in culture, commerce, government, and technology are shaping the industry and what this means for marketers in the months and years ahead. The report focuses on media owner revenue, tracking top sellers across over 60 markets. The top 350 advertisers account for less than a quarter of total industry revenue, while the top 25 media sellers represent over 70%. The methodology evaluates economic factors and channel-level revenue for a precise advertising forecast. The global economy has stabilised despite US tariffs, with the International Monetary Fund (IMF) projecting GDP growth of 7.4% in 2025 and 6.8% in 2026. Inflation is estimated at 4.2% in 2025, decreasing to 3.7% in 2026. Key drivers of this improvement include the reduced impact of tariffs and the AI investment boom. Consequently, WPP now expects ad revenue growth of 8.8% in 2025, up from 7.7% predicted in December 2024. Regional advertising revenue forecasts Following Latin America, APAC is the second-largest region for advertising, accounting for 31.6% of global revenue and featuring four of the top 10 markets: China, Japan, India, and Australia. Ad revenue is projected to grow by 6.4% in 2025 to US$361.8 billion, followed by 6.6% in 2026, stabilising around 5% growth through 2030. While geopolitical tensions may pose challenges, reduced tariff impacts and rising consumer confidence, along with new AI-driven businesses, could further boost growth. China’s advancements in AI and robotics are expected to create opportunities first in Asia before expanding to Europe or North America. North America’s total advertising is projected to grow by 12.3% in 2025, reaching US$452.9 billion, with further growth of 7.5% anticipated in 2026. Meanwhile, the advertising market in the Middle East and Africa is expected to grow by 6.9% in 2025, reaching US$21.6 billion, followed by a 7.4% increase in 2026.  The European advertising market is also set for robust growth, projected to expand by 5.8% in 2025 to US$257.6 billion, with an additional 5.5% increase expected in 2026. Media forecast The media forecast is divided into four main segments reflecting clients’ motivations for allocating their media budgets. The largest segment, content-driven advertising, is expected to account for 58% of total ad revenue in 2025, decreasing to 55.1% by 2030. This segment includes forecasts for TV, audio, newspapers, magazines, social media, and gaming. Social and digital platforms represent the primary growth engine for content-driven advertising, reaching US$413 billion in 2025 (+12.8%) before advancing to US$445.4 billion in 2026 (+7.8%). Gaming is the fastest-growing content advertising channel, projected to reach US$8.5 billion in 2025 (+29.5%) and US$10.7 billion in 2026 (+25.6%), though it will account for only 0.7% of total ad revenue in 2025, rising to 0.9% in 2026. Meanwhile, traditional linear channels continue to face structural declines, with magazine advertising experiencing the steepest drop in the content sector, projected to fall by 7.2% to US$15.6 billion in 2025, and a further 10.7% decline to US$14 billion in 2026. The next largest component, accounting for 21.4% in 2025, is intelligence—primarily derived from search ad revenue but expanding to include ad revenue from AI platforms. Meanwhile, commerce is expected to account for 15.6% of total global ad revenue in 2025, reaching US$178.2 billion and surpassing total TV ad revenue for the first time. Commerce is projected to account for 15.6% of global ad revenue in 2025, reaching US$178.2 billion and surpassing TV ad revenue for the first time. This reflects the transition of commerce media from an experimental channel to a key component for many advertisers. Growth is expected at 11.6% in 2025, slowing to high single digits through 2030, when the segment may reach US$268.3 billion (17.2% of total ad revenue). Finally, location-based advertising, comprising out-of-home (OOH) and cinema, is expected to grow 6.3% in 2025 to reach US$56.9 billion globally. This category continues to demonstrate resilience relative to other traditional media, with OOH maintaining its share of total advertising at 4.8% in 2025 and projected to remain stable at between 4.6% and 4.8% through 2030. Category trends In addition to tracking the financials of the world’s leading advertising sellers, the report also maintains composites of the largest global advertisers across nine categories: consumer packaged goods (CPG), retail, media and entertainment, technology, financial services, automotive, pharmaceuticals, luxury, and business-to-business (B2B). The CPG advertising landscape is set to enter a more normalised phase of growth in 2026 following years of pandemic-driven volatility and inflation-driven margin pressure. For CPG companies excluding alcoholic beverages, the 2024 median advertising as a percentage of revenue stood at 7.8%. WPP expects the 2025 advertising ratio to be slightly lower as companies adapt to tariffs, input cost pressures, and some consumer weakness in key markets.  In terms of media, total advertising spend is estimated to grow 8.3% in 2025, with an additional 9.9% increase anticipated in 2026. The median advertising share of total revenue is expected to be broadly similar at 4.6%.  However, retailers face a challenging environment with tariff-driven pricing pressures, increased competition from smaller players, and the balance between short-term sales and long-term brand building. Holiday sales forecasts are mixed, as consumers expect higher prices due to inflation but remain open to promotions. Retailers are prioritising omnichannel strategies to engage customers at all touchpoints and are increasingly focusing on brand heritage through anniversary campaigns and archival creative. While digital channels are key, retailers are also expanding their evaluation of social platforms beyond the largest media owners. Advertising growth in the media and entertainment category is forecast to be 2.6% in 2025 and 6.3% in 2026. This is projected to outpace overall category revenue growth in 2025 (+1.8%) and match it in 2026 (+6.3%). The technology category composite includes hardware-focused companies such as HP, Xiaomi, LG, Samsung, Apple, Lenovo, Dell, and Nintendo. Median advertising as

Gen Z is rewriting the rules of online engagement, turning away from fast, chaotic content in favour of slower, more intentional experiences, according to Pinterest Predicts 2026. The platform’s annual trend report, launched officially in Singapore, offers a data-driven view of cultural shifts expected to shape consumer behaviour next year. The report analyses the activity of more than half a billion monthly users and is powered by a combination of machine learning and human expertise. Pinterest says its predictions have achieved 88% accuracy over the past six years, making it a reliable guide for brands planning ahead. Don’t miss: 5 trends that had brands in a chokehold in 2025  Digital overload meets nostalgic comfort Pinterest calls the current digital landscape “ambient chaos”, defined by content overload, overstimulation, and constant online noise. In response, Gen Z is seeking grounding experiences online, shaping three cultural drivers for 2026: emotional comfort, curated self-expression, and grounded optimism. “Gen Z is overworked, overscheduled and overwhelmed. They are always planning and scheming how to be more productive with their time, looking for hacks to save little bits of their time and energy. So it is no surprise they’re looking towards a distant past they have only heard of, but probably never experienced – those ‘nostalgic’ days when life was simpler,” said Vivek Iyyani, founder of Millennial Minds at the Singapore launch of Pinterest Predicts 2026.  Amid uncertainty, Gen Z is gravitating towards tactile, familiar, and emotionally grounding activities. Globally, nearly one in four Pinterest users say they are engaging in more nostalgic activities, from collecting vintage items to revisiting childhood hobbies. Analog habits are making a comeback. More than a quarter of Gen Z and Millennial users report rediscovering handwriting or letter-sending. Singapore leads the trend: Gen Z Singaporeans are 4.12 times more likely to engage in the ‘Pen pals’ trend than the average Pinterest user, reflecting a desire to slow down and reconnect. From imitation to intention Pinterest Predicts shows that Gen Z is moving from trend-following to intentional curation. Nearly four in 10 say trends make them feel creative, using Pinterest to design spaces and aesthetics that reflect their identity rather than simply copying global trends. Maximalist ‘Glamoratti’ aesthetics are resonating strongly, almost six times more popular among Gen Z in Singapore than among global users. Crochet-inspired ‘Laced up’ looks are trending across APAC, nearly five times more popular among Singaporean Gen Z than in Japan or Australia. Heritage-led interior design is also on the rise. Searches for ‘African boho living room’ and ‘afro chic home decor’ have surged under Pinterest’s ‘Afrohemian decor’ trend. Nearly half of users (45%) are drawn to warm, comforting colours, while over a quarter (26%) say refreshing their home improves their mood. For brands, this signals growing demand for homeware and lifestyle products that combine personal expression with emotional comfort. Pinterest says Gen Z’s approach reflects “grounded optimism”: imagining brighter possibilities while staying rooted in reality. The report notes a move away from doomscrolling and viral pressure toward mindful, intentional exploration. “Gen Z is quietly leading a cultural reset to find their own space amid ambient chaos,” said Ayumi Nakajima, senior director of content partnerships, APAC at Pinterest. “They are building a new rhythm and moving away from the doom scrolling seen on other platforms, choosing instead to search with intention. For brands, this is a unique opportunity to connect with Gen Z at their most creative and decisive moments,” added Nakajima.   What this means for marketers Pinterest Predicts 2026 signals a shift in what drives engagement. While the past decade emphasised virality and rapid trends, next year will reward brands that show up consistently, authentically, and with clear values. For marketers targeting Gen Z, this means creating campaigns that support self-expression, reflect emotional needs, and enable curated experiences. Trends such as ‘Glamoratti’, ‘Laced up’, and ‘Afrohemian decor’ highlight how Gen Z uses digital inspiration to shape both personal style and home environments. Brands that understand these nuanced preferences can engage with consumers at key moments, turning discovery into meaningful action. Pinterest’s predictions build on this year’s trends, where brands leaned on bold formats, nostalgic cues, and playful provocation to stay visible. The year’s digital trends showed that success is no longer just about chasing virality; instead, brands are increasingly tapping into visual novelty and emotional connection to resonate with audiences. Related articles:   Pantone picks ‘Cloud dancer’ as 2026 colour of the year, sets off global collab wave  How Coach is winning over Gen Z one experience at a time  Nostalgia is not enough: How brands can get the rising trend right source

Apple Pay has partnered Stanley Tucci for a new holiday social campaign spotlighting how the payment service fits into everyday life, using food and human connection as its emotional hook. Titled “Can I bring people together with pasta and Apple Pay?”, the campaign follows Tucci as he shops for ingredients in a small Italian town, cooks, and shares a meal with a group of Italian nonnas. All purchases throughout the film are made using Apple Pay. Created in collaboration with TBWAMedia Arts Lab, the first film will launch on 9 December as a collaborative post on Tucci’s and Apple Pay’s Instagram and TikTok accounts. Additional content will roll out across Instagram, TikTok, Snapchat, YouTube and Facebook. Don’t miss: Apple puts accessibility in the spotlight with college-life short Directed by two-time Emmy winner Floyd Russ, the largely improvised film shows Tucci navigating local markets, unexpected retail locations and the ultimate culinary test, cooking for a group of discerning Italian grandmothers. The campaign also taps into the social issue of elderly isolation in Italy. According to Italy’s National Institute of Statistics (ISTAT), people aged 65 and above make up nearly half of the country’s population living alone. “I love Apple Pay because it’s so easy to use even for a man of my age. Or especially for a man of my age. I use it to pay for everything. It’s a brilliant thing,” Tucci said. The collaboration is part of Apple Pay’s broader “Can I… with Apple Pay?” social platform, launched in 2023 to educate audiences on how, where and why to use the service through creator-led storytelling. Previous partners under the platform include Grandma Droniak, Drew Dirksen and comedian Zach Woods. The campaign follows Apple’s other major holiday push earlier this month with its annual festive film, “A critter carol.” The 2-minute-20-second spot features handmade woodland puppets who discover an iPhone 17 Pro in a snowy forest and turn it into a chaotic a cappella music video set to Friends by Flight of the Conchords. Directed by Mark Molloy, the film was shot entirely on the iPhone 17 Pro using features such as Center Stage, Dual Capture and up to 8x zoom. The campaign was created by TBWAMedia Arts Lab, with production by Smuggler and Unit Sofa in Prague. Related articles: Apple and ISSEY MIYAKE stitch style into tech with new iPhone Pocket    Apple’s final collab with Jane Goodall celebrates creativity’s first spark    Apple’s cinematic stunt proves the iPhone 17 Pro can take a beating source

The LEGO Group has appointed former Weber Shandwick senior vice president Marta Sousa Bigio (pictured) as its new communications director for Asia Pacific. She confirmed the move in a LinkedIn post, marking her departure from Weber Shandwick after two years with the agency. In her new role, she will oversee communications across the region, with a focus on storytelling tied to LEGO’s brand heritage and purpose-led initiatives. Her appointment coincides with the launch of the LEGO Group’s annual “Build to give” campaign, which encourages the public to build and share LEGO hearts to help donate LEGO sets to children in need. Don’t miss: How LEGO and IKEA Malaysia are redesigning homes through play Prior to joining the LEGO Group, Bigio was senior vice president, APAC at Weber Shandwick from 2023 to 2025, where she advised clients on stakeholder engagement, media relations, crisis management and corporate reputation across the region. Before that, she served as senior director of communications, APAC at Redhill from 2022 to 2023, leading campaigns for startups, NGOs and multinational corporations. She also spent two years at Unilever as global senior communications manager from 2020 to 2022, where she led global communications for the company’s sustainable sourcing agenda. Earlier in her career, she was communications director at Mars for the Iberia cluster from 2015 to 2019, and European brand and communications director at Crocs from 2012 to 2015. MARKETING-INTERACTIVE has reached out for more information.  Bigio’s appointment comes amid a busy stretch of brand activity for the LEGO Group in the region. In October, the brand brought its Botanical Garden collection to life in Kuala Lumpur with the launch of Asia’s first LEGO Botanical Glasshouse at Pavilion Kuala Lumpur. The immersive pop-up transformed the mall’s Centre Court into a brick-built garden inspired by the 21353 LEGO Ideas Botanical Garden set, featuring a life-sized pink rose, bonsai displays, a floral throne and a “JOY” photo corner, alongside hands-on floral workshops. Earlier in September, the LEGO Group tapped actor Tom Holland to front its “Never stop playing” film under the global “Rebuild the world” platform, aimed at reigniting play and creativity among kids and families. Backed by AC/DC’s High Voltage, the spot saw Holland shift through a series of playful personas, from a footballer and entrepreneur to an undercover LEGO minifigure and a stern boss rediscovering joy. Related articles: Nike and LEGO turn play into purpose with multi-year global partnership   LEGO and Pokémon finally build the dream collab fans have been waiting for      LEGO and Shopee MY invite families to ‘Bina bersama, cipta cerita’ ahead of Malaysia Day source

Paramount Skydance has launched a hostile US$108.4 billion all-cash bid for Warner Bros., challenging Netflix’s existing US$82.7 billion deal with the iconic film and television studio.  In an announcement released on 8 December, Paramount said it has commenced an all-cash tender offer to acquire all outstanding shares of Warner Bros. Discovery (WBD) for US$30 per share. The bid, which includes WBD’s Global Networks segment, represents a 139% premium over WBD’s undisturbed stock price on 10 September. Paramount’s offer positions itself as a “superior and more certain” alternative to Netflix’s US$27.75-per-share mix of cash and stock, which the company characterises as volatile, complex, and subject to lengthy regulatory scrutiny across multiple markets. According to Paramount, its all-cash proposal delivers US$18 billion more to WBD shareholders compared to the Netflix deal. Don’t miss: Netflix to buy Warner Bros. in US$82.7bn deal after Discovery split David Ellison, chairman and CEO of Paramount, said the company is taking the offer directly to shareholders after submitting six proposals over 12 weeks without meaningful engagement from WBD’s board. “WBD shareholders deserve the opportunity to consider our superior all-cash offer for the entire company,” he said, adding that the Netflix proposal leaves shareholders exposed to uncertain valuations and a protracted regulatory battle given Netflix’s global scale. Paramount argues that the Netflix acquisition faces significant antitrust concerns. The company claims the combination would entrench Netflix’s dominance, particularly in regions where it already holds major subscription video on demand (SVOD) market share, creating potential risks of higher consumer prices, lower compensation for creators, and further pressure on theatrical exhibitors. By contrast, Paramount says its takeover would “enhance competition” by forming a stronger rival to dominant streaming platforms, while preserving and expanding theatrical releases. The company emphasised that it intends to invest in the creative engines across both studios, maintain WBD’s current theatrical slate, and further grow output. If successful, the merger would bring together Paramount+ and HBO Max, creating what the company describes as a more competitive direct-to-consumer platform. Paramount also highlighted the combined group’s technology partnership with Oracle, an expanded global sports rights portfolio spanning the NFL to Champions League, and a stronger suite of linear networks supported by CBS. Paramount projects more than US$6 billion in cost synergies from the merger, on top of the US$3 billion in efficiencies it expects from its standalone transformation. Ellison said the combined company would be well-positioned to invest in content and innovation, backed by committed investors following the recent Skydance merger. In a recent development, Reuters reported that US President Donald Trump weighed in on Netflix’s planned acquisition of Warner Bros., noting that the streaming giant already holds “a very large market share” and suggesting the deal “could be a problem.” He also indicated that he would be “involved in that decision,” casting further uncertainty over the transaction. He later told a White House roundtable that neither Netflix nor Paramount Skydance are close allies, and he would need to review their market share in the Warner Bros. bids. Last week, Netflix announced an agreement to acquire Warner Bros. in an US$82.7 billion deal, bringing the century-old studio—home to Harry Potter, Game of Thrones, The Sopranos, The Big Bang Theory, the DC Universe, and The Wizard of Oz—under Netflix’s global streaming umbrella in one of the most significant consolidation moves in recent years. The deal also raises questions about the future of HBO and HBO Max, following a turbulent 18 months in which Warner Bros. Discovery folded HBO Max into a broader Max strategy, scaled back global expansion, and cut content investment amid cost pressures. Under the agreement, Netflix will acquire Warner Bros.’ film and television studios, as well as HBO and HBO Max, after Warner Bros. Discovery completes the previously announced separation of its Global Networks business in Q3 2026. The transaction was expected to close within 12 to 18 months. The move represents the latest step in the streaming sector’s consolidation, following Amazon’s $8.5 billion acquisition of MGM in 2022, which gave the company access to the James Bond franchise and more than 4,000 film titles. Related articles: Netflix rewinds time with 80s-style Stranger Things cassette ahead of final season Warner Bros. Discovery to split streaming and networks into two companies Hello delivers Naked Gun portaloo prank for Paramount source

Fei Siong Group has appointed social media agency ACTSTITUDE to manage digital activations and content creation for five of its key brands, including Nam Kee Pau, Encik Tan, Malaysia Boleh, SG Hawker, and US fast-food chain Popeyes. The partnership aims to strengthen Fei Siong Group’s online presence and build a more cohesive digital identity across its portfolio. Adren Teng, head of marketing at Fei Siong Group, described the move as a “new phase” for the company. “We’re looking forward to taking this next step together with ACTSTITUDE, amplifying our online presence through strategic content creation and effective marketing campaigns,” Teng said. Don’t miss: Singapore’s Fei Siong brings hawker brand Encik Tan to Indonesia In tandem, Alvin Kok, managing director and co-founder of ACTSTITUDE, said the partnership allows the agency to further refine its social media strategies and visual storytelling. “With exciting new campaigns lined up, we hope to leave a lasting impact among online consumers, implementing fresh strategies that can help to rejuvenate the brands,” Kok added. The appointment follows ACTSTITUDE’s recent contract renewals with multiple shopping malls and F&B brands, including Waterway Point, The Clementi Mall, The Rail Mall, RE&S, Elfuego by COLLIN’S, Bega Cheese, and Jack’s Place, reinforcing the agency’s growing influence in Singapore’s digital marketing landscape. This expansion comes amid a competitive social media landscape, with other organisations also seeking specialised expertise In November, the Land Transport Authority (LTA) put out a tender for a social media agency to steer its digital communications across platforms including Facebook, Instagram, TikTok, Telegram, WhatsApp, Twitter, and YouTube. According to GEBIZ documents seen by MARKETING-INTERACTIVE at the time, the appointment is set to run for 24 months, with the possibility of ongoing collaboration. The agency selected will support LTA’s strategic objectives: growing and enhancing its social media presence, raising awareness of its initiatives and land transport updates, deepening engagement through creative content, and building public affinity for Singapore’s transport system. Related articles: Monetary Authority of Singapore seeks social media partner for MoneySense   MOM picks new social media agency  Arcc Assets picks new social media agency  source