marketing interactive

Perplexity has released a comedy short starring seven-time Formula 1 champion Lewis Hamilton and comedian Eric André (The Eric André Show, The Lion King, Man Seeking Woman). The short, produced by London-based Black-owned Sata Studios, highlights Perplexity’s athlete partnerships, showcasing shared values with top performers and the enthusiasm people have for the brand. In this case, the short features Hamilton, a global partner and investor who embodies the brand’s values: curiosity, a drive for excellence, and the belief that champions are made by asking better questions. “Perplexity is a tool I use to stay curious and keep learning, and working with the team and Eric to bring that to life in a way that really entertains people was brilliant,” Hamilton said. “The filming day was a lot of fun, and I hope people enjoy it and it genuinely highlights how Perplexity can help with any question and moment.” Don’t miss: How brands can stay relevant as ChatGPT Atlas redefines discovery Playing on Hamilton’s racing fame and André’s comedic chops, the film focuses on what sets champions apart: the drive to keep asking questions. The short, titled ‘The Garage’, follows André visiting his neighbour Hamilton, who is busy tinkering with his motorbike. When Hamilton asks André to pass him a tool, the clueless comedian turns to Perplexity for guidance. The pair then chat about Hamilton’s plans in Brazil, with André showing surprising expertise on motorbikes and riding. Hamilton quickly reveals he knows just as much, demonstrating Perplexity’s responses to the comedian. In a moment of panic, André grabs Hamilton’s phone and tosses it to the ground before making a quick exit. Hamilton shouts after him, demanding his phone back, only for André to cheekily tell him to buy a new one. “We’ve all been there in that moment of panic when you’re trying to impress but have no idea what the answer to a question is,” said Stevie Amoh, co-founder of Sata Studios. “It’s awkward, it’s tense, it’s comic gold, and that’s what we wanted to lean into. André is naturally hilarious, but Hamilton’s ability to improvise and play off him brought something special to set. He helped us take what can often feel like a digital experience and make it genuinely human,” Amoh added.  The film reflects Perplexity’s approach of partnering with talent who already love the product and thrive at the intersection of technology, sport, and culture. It follows a March 2025 short starring Squid Game’s Lee Jung-jae, highlighting the company’s focus on cultural moments and sport. Titled ‘Perplexity Questions’, the short puts Lee in an eerie room where he must answer three questions to advance. Each question escalates the stakes, starting with a freezing cold first challenge. Initially, Lee searches for answers on a browser called “Poogle,” only to be confronted with an overwhelming list of links. He quickly switches to Perplexity, which delivers the answer instantly, allowing him to move on. The challenge concludes with the question: “Who was the first Korean actor to win an Emmy award?” Lee smirks, knowing he is the correct answer. Related articles:   OpenAI shows how ChatGPT fits into everyday life in first major campaign OpenAI’s APAC comms head on leveraging ChatGPT as a strategic partner AI platform Perplexity to in talks to double valuation to US$8 billion  source

The Motion Picture Association (MPA) has reportedly issued a cease-and-desist letter to Meta, objecting to the company’s use of the “PG-13” movie rating to describe its new content moderation policies for teens on Instagram. The letter, dated 28 October, reportedly stated that Meta’s marketing around the update was “literally false and highly misleading”. According to NBC News, the MPA argued that the PG-13 rating is a registered certification mark owned by the association and that Meta’s use of it could undermine public trust in the integrity of the film industry’s long-established rating system. In the letter shared with NBC News, MPA attorney Naresh Kilaru noted that the association has spent decades building public trust in its film rating system, warning that Meta’s automated classification approach could erode that credibility. Don’t miss: Instagram’s ‘teen accounts’: How can brands adapt to engage teens amid parental concerns? The association also highlighted that its ratings are reportedly determined by “an independent group of parents” through a consensus-based process that evaluates films in context, a process Meta does not follow. It added that Meta’s teen content restrictions reportedly appear to rely largely on AI or automated technology measures. In response, Meta clarified to NBC News that it had no intention of implying any official partnership with the MPA or participation in its ratings process. The company reportedly said the update was designed to help parents better understand teen safety measures on the platform and expressed openness to working with the MPA to enhance clarity for families. The MPA’s film ratings system was introduced in 1968, with the PG-13 classification added in 1984 as an intermediate category between “PG” and “R.” Meta first introduced the PG-13 reference in an October blog post unveiling the revamp of its Teen Accounts feature. The update automatically places users under 18 into a 13+ setting by default, restricting exposure to content deemed inappropriate for their age group. The company said the move was “guided by PG-13 movie ratings” to help parents better understand the platform’s safeguards, and included a stricter “Limited Content” option for families seeking tighter control. MARKETING-INTERACTIVE has reached out for more information.  The PG-13 update builds on Meta’s broader efforts to strengthen protections for younger users. Earlier this year, Instagram began using AI to identify teens who misstate their age to bypass safeguards built into its Teen Accounts feature. The AI system proactively flags accounts that appear to belong to teens and automatically places them in the stricter settings, which limit unwanted contact, exposure to inappropriate content, and excessive screen time. The feature, first launched in Singapore in January 2025 before expanding to Hong Kong, Taiwan and the wider APAC region in February, had enrolled at least 54 million teens globally at the time of writing. According to Meta, 97% of them had opted to remain within the protected experience. Related articles: Instagram brings AI age-detection to Australia, says Apple and Google must do more    Meta expands Instagram safety features for teens amid regulatory pressure      Will Instagram’s teen restrictions see a diminishing of reach and hence ad dollars? source

Liverpool FC (LFC) and The Coca-Cola Company have extended their multi-year partnership, stepping up fan engagement and broadening support for LFC Women. Since first teaming up in 2020, the duo has launched a series of fan-first activations, including exclusive experiences, rewards programmes, and digital campaigns celebrating the club’s global supporters. Notable highlights include “Christmas carpool”, which delivered some of the highest engagement for branded content across the club’s digital channels. Don’t miss: Interview: Liverpool legend Robbie Fowler on brand loyalty in the world of football The renewed deal will see Coca-Cola integrate further at Anfield, continue its pouring rights across its full beverage portfolio, and create experiences designed to bring fans closer to the club. The partnership also builds on Coca-Cola’s wider football footprint, complementing its ongoing Premier League agreement and long-standing support for the sport at all levels, from grassroots to international tournaments. “We’re thrilled to be extending our partnership with Coca-Cola, with a continued focus on enhancing the matchday experience at Anfield and expanding their support for LFC Women,” said Ben Latty, chief commercial officer at LFC. He added, “Coca-Cola has helped us deliver some brilliant campaigns over the past few years, from unforgettable matchday activations to community-driven initiatives through LFC Foundation. With this renewed agreement, we’re looking forward to creating even more moments that celebrate both our men’s and women’s teams.”  In tandem, Javier Meza, president of marketing, Europe at Coca-Cola, said, “Liverpool Football Club stands as one of the most storied and influential clubs in world football, with a historical legacy and a passionate global fan base. We’re excited to continue sharing moments of refreshment and enjoyment with fans through our partnership with the club.” Coca-Cola has been ramping up its presence across English football more broadly. In August, Manchester United signed a three-year deal naming the beverage giant as its official carbonated soft drinks partner in the UK and Europe. The agreement grants Coca-Cola headline presence across matchdays and fan experiences, along with pouring rights for its full soft drink portfolio at Old Trafford. Related articles: You’ll never scroll alone: How Liverpool’s social strategy is ruling the internet  Liverpool FC inks US$77m-a-season kit deal with adidas    Coca-Cola and Ocean Cleanup turn the spotlight on Klang River waste  source

Creatives and brand marketers now have a new option for their design toolkits, with the launch of the all-new Affinity: a professional design app that combines photo editing, vector design, and page layout tools, now completely free. The platform aims to fill a gap for those who find Adobe’s suite cumbersome or subscriptions costly, or for teams looking to step up from web-based editors such as Canva. Built with speed, precision, and flexibility in mind, Affinity allows users to personalise their workspace, mix and match tools, and even share custom studios. Every adjustment updates in real time, and the platform handles complex projects with thousands of layers, making it suitable for both independent designers and full creative teams. “For too long, professional designers have had limited choices, often forced to compromise on speed, performance, or cost,” Canva said in a statement. “We’ve built something better. A studio-grade creative platform that adapts to how professionals actually work.” Don’t miss: Canva unleashes fantasy shorts to put imagination to work Affinity’s vector tools let designers create precise illustrations and complex brand systems effortlessly. Its award-winning photo editing suite allows for non-destructive adjustments, while layout tools keep typography, graphics, and images consistent across multi-page publications. Whether it’s a detailed brand identity or a brochure, creatives can work in one seamless environment without switching apps. The launch also marks a new chapter for Affinity under Canva, which acquired the platform last year. Canva premium users can now access Canva AI tools directly within Affinity, including generative fill, expand & edit, and remove background features, designed to speed up repetitive steps while maintaining full creative control. “Affinity has always been for professionals who care deeply about craft,” the company said. “Now, with Canva’s technology, users can experiment more freely, work faster, and keep their creative process uninterrupted.” Existing projects can be imported from formats like PSD, AI, PDF, SVG, TIFF, and IDML, so users don’t have to start from scratch. The all-new Affinity is available today on Mac and Windows, with iPad support coming soon.  Announced on 30 October, Canva said that the relaunch of Affinity was just the beginning. “We’re continuing to invest in both Affinity’s professional design tools and Canva’s all-in-one platform, building a future where everyone can design at the highest level, without barriers.” For creatives frustrated with bloated software or looking for a step up from simpler web editors, Affinity offers a fully featured, high-performance alternative — free of cost, flexible, and designed to keep up with the way professionals actually work. Design platform companies have been ramping up their race against, and with the advancements of AI. Just last week, Figma announced that it acquired AI-powered image and video generation company Weavy, which will be joined under a new brand called Figma Weave. 20 people from the Israel founded company will join Figma, but the valuation of the deal was not disclosed. Weavy’s web platform lets users integrate multiple AI models and provides professional editing tools to produce high-quality images and videos, ideal for product mock-ups or brand visuals. Meanwhile, Adobe has unveiled a major wave of AI updates across its Creative Cloud suite, including Photoshop, Lightroom, Premiere, and Illustrator, at Adobe MAX 2025. The updates introduce new AI-powered tools designed to help creative professionals save time, work with greater precision, and manage repetitive tasks more efficiently. Highlights include Photoshop’s AI Assistant for automating workflows, Firefly Boards for collaborative ideation with image upscaling and prompt generation, and new Firefly Creative Production tools for batch editing thousands of images at once. Adobe is also integrating top AI models from partners such as Google Gemini, Topaz Labs, and ElevenLabs directly into its apps, alongside its own Firefly Image Model 5 for photorealistic, high-resolution image generation. For creative teams, the updates include enhanced object masking in Premiere, AI-assisted culling in Lightroom, and new Firefly Custom Models that allow users to generate assets in their own visual style. Together, these innovations aim to streamline the creative process while giving professionals full control over output quality. Related articles: Just weeks after acquiring MagicBrief, Canva deepens its AI push with ChatGPT Adobe snaps up web-based design platform Figma for US$20bn How brands can innovate customer experience through design-led thinking source

Chick-fil-A has appointed Ministry Agency as its media agency, ahead of the American fast-food brand’s first outlet in Asia. The appointment was announced by Kelvin Koo, managing partner at Ministry Agency, in a LinkedIn post, where he described the win as “a full-circle moment” that was deeply personal. Koo revealed that Chick-fil-A’s manifesto had inspired the culture he sought to build when founding his first agency in 2003. “To partner with a brand that has shaped my own approach to leadership and business for two decades is a genuine privilege,” he wrote. MARKETING-INTERACTIVE has reached out for more details.  Chick-fil-A’s Singapore debut comes at Bugis+ on 11 December, marking a 10-year, US$75 million investment into the city-state. The restaurant will operate daily from 10am to 10pm, except on Sundays, following the brand’s tradition. Don’t miss: Shake Shack Singapore appoints media agency  Ahead of the launch, Chick-fil-A ran a pop-up in Singapore in June 2024 to introduce its iconic original chicken sandwich to the community. The three-day event attracted more than 1,000 visitors and raised SG$30,000 for Community Chest, the philanthropy and engagement arm of the National Council of Social Service, through a suggested SG$10 donation from attendees. The pop-up also allowed the brand to gain insights into local guest preferences in preparation for its permanent outlet. “The profound love that Singaporeans have for food, as well as the city’s strategic position as a gateway to the Asian market, make it the ideal choice for Chick-fil-A’s first permanent restaurant in the region,” said Anita Costello, chief international officer at Chick-fil-A, Inc. Hugh Park, head of Asia Pacific operations at Chick-fil-A, added that the brand’s locally owned and operated approach will allow it to better connect with people in Singapore, while maintaining its signature hospitality and food quality. “We are thrilled to introduce Chick-fil-A to Singapore, bringing new jobs and opportunities as we support the local community. Serving our Guests with high-quality food and signature hospitality remains our top priority,” Park said. Chick-fil-A is not the only fast-food restaurant to appoint a media agency. Earlier in September, Shake Shack Singapore named WILD Group its media agency, where the agency will be tasked to handle social media account management, media production and KOL management for the brand.  Related articles:  Emirates picks new global media agency OpenAI picks new global media agency  Virgin Active picks media agency for SG and TH  source

The Land Transport Authority (LTA) is looking for a social media agency to steer its digital communications and elevate public engagement across its platforms, including Facebook, Instagram, TikTok, Telegram, WhatsApp, Twitter, and YouTube. According to GEBIZ tender documents seen by MARKETING-INTERACTIVE, the appointment will run for 24 months from the contract commencement date, with the possibility of ongoing collaboration. The agency will play a pivotal role in supporting LTA’s strategic objectives: growing and enhancing its social media presence, raising awareness of its initiatives and land transport updates, deepening engagement through creative, relatable content, and building public affinity for Singapore’s transport system. Don’t miss: Monetary Authority of Singapore seeks social media partner for MoneySense Scope of work covers three broad areas. First, the agency will provide strategic social media consultancy, offering insights into trends and competitor activity, assessing LTA’s current social media effectiveness, and recommending integrated strategies to execute key campaigns such as the Public Transport Reliability and Affinity campaign and the Travel Guardians campaign. It will also provide performance reports, fine-tune strategies, and suggest innovative ways to leverage AI, digital tools, and emerging content formats. Second, the agency will handle content development and production, from ideation and research to photography, videography, design, editing, and copywriting. Content deliverables include static visuals, TikTok and Instagram Reels of varying lengths, and digital engagement activities like online contests. The agency will ensure all content meets platform specifications, secure necessary approvals and licenses, and provide post-activity analysis on engagement metrics. Finally, the agency will manage content publisher and influencer partnerships, identifying suitable content partners and overseeing the end-to-end production process. This includes collaborating with content publishers and influencers across follower tiers—from nano and micro influencers to macro creators—producing videos, branded articles, and multimedia posts designed to amplify LTA’s messages. Performance reporting, asset archiving, and ongoing trend monitoring are also expected. The role also requires agility in crisis response, adapting content quickly during periods of heightened public interest or service disruptions. Agencies are expected to actively recommend digital engagement initiatives, interactive formats, and contests that encourage positive online engagement, as well as procure subscriptions to tools and platforms such as Canva Pro, Shutterstock, Envato Elements, and ChatGPT Business to support content creation and analytics. Through this appointment, LTA aims to strengthen public understanding of its initiatives, humanise its operations, and foster appreciation for the complexity and sustainability of Singapore’s land transport system.  Wild Advertising is the incumbent agency, first appointed in 2022. Over its two-year tenure, the agency was tasked with monitoring and reviewing the performance of LTA’s social media content, as well as conceptualising and producing creative, engaging multimedia content for all platforms. In a separate move, LTA recently consolidated its bus advertising operations under a single operator, awarding Moove Media Pte. Ltd. a seven-year contract, starting 1 November 2025 with an option to extend for two more years. The deal covers advertising spaces on all public buses and at bus interchanges, which were previously managed by individual public transport operators. Moove Media, a subsidiary of ComfortDelGro Corporation Limited, offered around SG$150 million in concession fees and plans to deploy dynamic displays on buses, 3D concept buses, and high-impact digital screens at interchanges. The consolidation aims to maximise reach and efficiency across LTA’s bus network while maintaining strong collaboration with stakeholders. Related articles:    Ministry of National Development calls creative, marketing and social media pitch for MSO  MOM picks new social media agency  Arcc Assets picks new social media agency  source

The long-running legal clash between Getty Images and Stability AI has become one of the first major test cases for copyright in the generative AI era, setting a crucial precedent for how courts may interpret intellectual property rights in the age of machine learning. According to reporting by Reuters, Getty largely lost its London lawsuit against Stability AI over claims that the AI company’s image generator, Stable Diffusion, unlawfully used Getty’s copyrighted photos to train its model. The case, which began in June this year, was among the earliest efforts to challenge how generative AI systems source creative content. Judge Joanna Smith ruled that Getty succeeded “in part” on trademark infringement, specifically in relation to Getty watermarks reproduced by users of Stable Diffusion. However, the judge dismissed Getty’s secondary copyright infringement claim, concluding that Stable Diffusion “does not store or reproduce any copyright works.” She added that her findings were “historic and extremely limited in scope.” Don’t miss: Coca-Cola’s 2025 AI-driven holiday ad draws mixed reactions Getty, which produces creative stock images and videos, dropped a significant portion of its copyright arguments mid-trial due to limited evidence of where the AI model was trained. Still, the company said the decision reaffirmed that AI developers bear responsibility when their systems output images containing protected marks. In a statement, Getty said, “Today’s ruling confirms that Stable Diffusion’s inclusion of Getty Images’ trademarks in AI-generated outputs infringed those trademarks. Crucially, the Court rejected Stability AI’s attempt to hold the user responsible for that infringement.” The company added that the court’s findings established “a powerful precedent that intangible articles, such as AI models, are subject to copyright infringement claims in the same way as tangible articles.” Stability AI, meanwhile, welcomed the ruling. Its general counsel, Christian Dowell, said the decision “ultimately resolves the copyright concerns that were the core issue.” As reported by Reuters, legal experts noted that the case leaves unresolved the larger question of whether training AI models on copyrighted works constitutes infringement in the UK. Lawyers said this exposes gaps in British copyright law and highlights the need for stronger transparency and policy guidance. The case first originated in early 2023. Based on a past report by MARKETING-INTERACTIVE, Getty Images had initiated legal proceedings in London’s High Court against Stability AI for “unlawfully copying and processing millions of images” from its platform to train the Stable Diffusion model. In its statement then, Getty said that Stability AI acted “absent a license to benefit its commercial interests and to the detriment of content creators,” adding that it had long offered proper licensing arrangements to technology partners developing AI responsibly. At the time, Getty also underscored its belief in AI’s creative potential when applied ethically, contrasting its stance with Stability AI’s alleged disregard for licensing protocols. At the time, Getty’s rival, Shutterstock, had already begun working with OpenAI to train its DALL·E model under a transparent licensing deal, offering a roadmap for how creative platforms could balance innovation with intellectual property protection. Just last week, Getty Images signed a multi-year licensing deal with Perplexity, marking a major step in the AI startup’s efforts to formalize relationships with content providers after facing multiple allegations of plagiarism and data scraping, Tech Crunch reported. The agreement allows Perplexity to display Getty’s images within its AI search and discovery products, with proper credit and links back to the original source. The partnership builds on a year-long collaboration between the two companies under Perplexity’s Publishers’ Program, which shares ad revenue with participating outlets when their content appears in search results. Perplexity said the collaboration reinforces its commitment to attribution and transparency. Meanwhile, Stability AI has continued on its slew of collaborations and alliances, having partnered up with Universal Music Group to co-develop professional AI music creation tools, Electronic Arts to co-develop tools for EA’s artists and designers, and even ad giant WPP to establish a joint R&D pipeline.  Announced in March earlier this year, the tie-up allows WPP to leverage Stability AI’s open visual media models to craft brand narratives, and in turn, WPP’s real-world applications and market insights will drive the development of Stability AI’s tech. Related articles:Getty Images and Shutterstock to merge into visual content powerhouseGetty Images sues Stability AI for ‘unlawful copying’ AI platform Perplexity to in talks to double valuation to US$8 billion source

Ricola has appointed singer, songwriter, actress and philanthropist IU as its newest brand ambassador across Asia. In a LinkedIn post, Raymond Mabasa, marketing VP, Asia, described IU as embodying “the balance between nature and performance.” The official announcement on Ricola’s Facebook features a vibrant video of IU walking through a sunlit garden in a yellow dress, with the words “refreshing,” “soothing” and “natural” appearing on screen as she utters them. She then takes a piece of Ricola from a matching yellow box, pops it into her mouth, and sings “Ricola,” followed by a voiceover saying, “Ricola. Nice to meet you. Breathe in nature.” Accompanying the video, the brand caption reads: “Introducing our new brand ambassador IU. From the Swiss Alps to the world, Ricola brings you refreshing moments made with our signature blend of Swiss Alpine herbs. Together with IU, we’re excited to share the natural goodness of Ricola as we begin this new chapter of our journey.” Don’t miss: Colgate taps K-pop icon IU for star power and sparkle  Central to her ambassadorship is a new campaign film. IU is first seen on a train, looking out the window and reflecting on her busy life. Seeking a moment of refreshment, she opens a box of Ricola Lemonmint and pops a candy into her mouth. The train transforms instantly: a bright garden blooms beneath her, and the scenery shifts from a Korean neighbourhood to the Swiss Alps. IU’s appointment was teased four days earlier on Ricola’s Instagram, featuring a microphone and a female voice singing “Ricola”, prompting fans to guess the singer behind the voice. IU follows Korean singer and actor Cha Eun-Woo, who was named Ricola’s Asia brand ambassador last year. Since his appointment, Cha has fronted multiple campaigns and promotions for various flavours, including ‘Lemonmint’ and ‘Cranberry’, as well as seasonal campaigns such as Valentine’s Day. Most recently, he appeared in campaigns for the new ‘Apple Mint’ candy and a limited-edition photocard package. Related articles:   Hongkongers bid farewell to Ricola Pearls as part of social campaign Ricola and Park Seo Jun disrupt daily grind with mood lifting campaign  Ricola serves up a breath of fresh air with Park Seo Jun as brand ambassador  source

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”. 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