China Counterfeiters’ Hot Product in 2019? Peppa Pig Couture | Jing Daily – interesting China’s fake clothing people have been cranking out snide Peppa Pig wear; including dreaming up Burberry, Chanel, Louis Vuitton, Off-White and Givenchy collaborations that haven’t happened! It’s wonderful and subversive at the same time
They welcomed a robot into their family, now they’re mourning its death – The Verge – Williams understands that companies have bottom lines and that gadgets come and go, but Jibo was also designed to appeal to children, and those kids are now learning what it means to own a robot and have no control over its fate – pretty dark stuff. It sounds like the product succeeded with customers but was too pricey for what was required – A couple of things here; it wasn’t that long ago that we thought Japanese people were odd for having Shinto funeral ceremonies for their dead Aibos. Now we see similar behaviour playing out for Jibo. Secondly, unlike the first Aibo, Jibo is essentially a cloud personality, which begs the question when’s the move towards device based AI etc coming back as seeing your kids cry is too much?
Dolce & Gabbana’s Expanded Sizing “Proves They’re Really about Selling Clothing,” Not Just Leveraging it — The Fashion Law – Dolce & Gabbana has announced that it will increase its sizing to include garments that will range up to size 54 in Italy, the approximate equivalent of a stateside size 18? You bet it is. The move by the Milan-based brand to extend its sizing – which went into force with its currently available pre-fall collection – “makes it one of the most inclusive designer brands for women,” according to The Independent’s Olivia Petter, a far cry from most high fashion brands, which Fashionista’s deputy editor Tyler McCall says “stop much closer to a size 10 [or] below that even.” – I think its a smart move given their problems in China
The crisis in creative effectiveness | WARC – There has been a serious declining trend in the effectiveness of creatively awarded campaigns over the last ten years. The most recent IPA/WARC Rankings data, explored in the new Crisis of Creative Effectiveness report, confirms this continuing decline; creatively awarded campaigns are now less effective than they have ever been in the entire 24-year run of data and are now no more effective than non-awarded campaigns. We have arrived in an era where award-winning creativity typically brings little or no effectiveness advantage.
February 2026 introduction – (31) get up & run edition
I am now at issue 31, or as a bingo caller would put it ‘get up & run’. In Cantonese 31 isn’t a famous lucky number, it could considered to mean ‘life first’ implying an importance of vitality. On the plus side, it doesn’t have negative connotations of say 14 – which sounds similar to definitely die.
I was sent a mix by an old friend of mine done by Frankie Bones at Amnesia House in August 1990 – as aural history its a fascinating treasure trove and occurred a pivotal time with several genres about to fragment from the original UK scene. Now we have our soundtrack let’s get into it.
New reader?
If this is the first newsletter, welcome! You can find my regular writings here and more about me here.
Things I’ve written.
I appeared in the What’s In My Now newsletter talking small wallets, cheaper alternatives to Apple Studio monitors and making better use of LLMs. More here.
I gave a presentation for Outside Perspective on my Dot LLM era paper. Here is my speaking notes that I prepared as I got the presentation ready, complete with the slides at the relevant points.
I spoke to the WSJ about my dot LLM era thinking and was name-checked on their Take On The Week podcast. And I compared my research with Marc Andreessen’s of A16z 2026 AI outlook here.
I wrote a letter to the FT about Sony surrendering its home entertainment business (TVs, home audio) to Chinese TV maker TCL. While Sony’s current involvement in sectors such as elder care and insurance are worthy endeavours – what does it mean when they are more core to Sony’s identity than the home entertainment equipment that the brand built its empire on?
As well as being a concerned Sony customer, I was also thinking about what it means to a brand when it gets rid of its core raison d’être? You can read my letter here.
I was talking to a friend about classic films and suddenly Matthew Frank’s newsletter dropped in my inbox and started me down a rabbit hole exploring the idea of forgettable cinema as part of the modern public zeitgeist.
I pulled together a collection of adverts and campaigns celebrating lunar new year from across Asia and a couple aimed at the wider diaspora. As brands look to benefit from the year of the fire horse.
ICYMI – Top five shares on LinkedIn
Publicis widening the business gap versus its rivals. A decade spent preparing their data and foundational technology for machine learning.
WPP’s big pivot to adapt to market conditions for the large holding companies.
Dentsu’s change of leadership to better control strategy and manage global capabilities.
Michael Farmer on why reorganisation isn’t strategy, instead strategy should drive any reorganisation to meet the strategic objectives. This one proved a bit controversial, I’m not sure why.
Books that I have read.
While I have been looking forward for David McCloskey’s latest book The Persian to come out, I managed to finish The Seventh Floor. On one level The Seventh Floor is about espionage and feels very now given the new cold war. But it’s also about friendship, loyalty and personal betrayal. McCloskey doesn’t only bring expertise from a past career at the CIA, but also a deep love of the espionage novel as an art form and this novel gives a nod and a wink to the works of John Le Carré.
While the agency world is focused on the rise of AI, I decided to revisit Michael Farmer’s Madison Avenue Manslaughter: An Inside View of Fee-Cutting Clients, Profit-Hungry Owners and Declining Ad Agencies. Ten years after it has been published, the diagnosis and the lessons from Farmer’s research seem to have been ignored by clients and the c-suites of holding groups. One thing I picked up on my revisiting the book was the challenge in defining strategic contribution and effort to campaigns. With creative output, Farmer managed to break down creative tasks into fixed ScopeMetric® Units (SMUs). But Farmer admitted that he couldn’t define strategy outputs in the same way because the context changed account-by-account. This makes sense given the difficulties I have had in the past when strategists were way oversold by the project management function within agencies.
Things I have been inspired by.
Insularity was the watch word of this year’s Edelman’s Trust Barometer. It was a pretty dark vision of the future. There is a huge delta between top income quartile of the population and their trust of authority and the bottom income quartile. In the lower quartile group there is little to no trust in authority figures (business, journalists, government). They only trust people like them.
Andrew Tindall published a new book for System1 based on their research and Effie data which reinforces previous publications by Orlando Wood, Les Binet, Peter Field and Byron Sharp at the Ehrenberg-Bass Institute. It also reinforces the importance of context as part of creativity when media and creative functions are co-joined at the hip. It’s very readable and available for free here.
Chart of the month.
The surge of US measles infections turned into a politicised debate about vaccinations, competence, why Canada’s rates were even higher and whether things were as bad as experts would have you believe?
The chart only tells part of the story.
The US CDC cites a general hospitalisation rate of about 20% (1 in 5 cases), recent years have seen significant fluctuations depending on the specific age groups and regions affected by measles outbreaks.
The “Age Factor”: The high rates in 2022 and 2024 were largely due to the virus hitting children under five—the age group most likely to develop severe complications like pneumonia.
2022 – driven by an outbreak in Ohio, which had a high paediatric hospitalisation rate.
2024 – remained high throughout the year with nearly half of cases affecting children under 5.
Outbreak Size vs. Severity: In 2025, even though the total case count surged, the percentage of people requiring hospital care fell. This often happens when an outbreak moves beyond high-risk “pockets” into a broader, sometimes older, population.
2023 – outbreaks in unvaccinated high-risk clusters.
2025 – hospitalisation rates dropped because the virus spread to older demographics and larger, but less severe clusters
2026 – infections in January had few children under 5 affected. Cases were able to be managed at home.
Vaccination Impact: Across all these years, the vast majority (over 90%) of hospitalised patients were either unvaccinated or had an unknown vaccination status.
Canada’s rates are high because the population has a significant amount of unvaccinated immigrants and refugees from conflict zones and the developing world.
Things I have watched.
Thomas Harris’ Silence of The Lambs still has legs in culture. Which is why Amazon Prime Video has gone back to the universe with Clarice. The story takes place in the aftermath of the buffalo Bill killings which drove the plot of Silence of the Lambs. The storytelling is top notch with a fantastic plot twist in episode 1. It is well worth your time to at least give the first few episodes a chance.
It started off in an unpromising way, several years ago a friend left a DVD with me. They said something along the lines of they liked a number of Werner Herzog films, but that this was too weird for them. I finally got to sit down and watch Fata Morgana.
It doesn’t have a story, but is beautifully shot footage of the Sahara and Sahel in 1969 with a focus on near horizon mirages (from which the film gets its name) and features the human effect on it from vistas of oil processing equipment to barbed wire and crashed planes.
There is a poetic narration in German over the top with a range of music to flt the landscapes. It feels like a forerunner of Godfrey Reggio’s Koyaanisqatsimade a decade later. It’s easy to watch.
I spent a weekend with my Dad going through old VHS cassettes and on one of them we found Four Fast Guns. It is a surprisingly good Hollywood western. While not a John Ford film, it has a grittiness due to superior character development and tight storytelling reminiscent of the very best spaghetti westerns. The film was produced by an independent studio and featured three well recognised character actors as its star performers.
Edgar Buchanan acted alongside the likes of Clint Eastwood, James Garner, John Wayne, Cary Grant and Randolph Scott he went on to appear in several TV series that I remember watching on repeat as a child in Ireland including The Beverley Hillbillies and The Twilight Zone.
Martha Vickers had appeared in The Big Sleep alongside Lauren Bacall.
James Craig had acted alongside everyone from John Wayne to Boris Karloff.
This gave the director much more creative freedom to make the performances pop on-screen. The climatic plot twist is very good.
I was inspired by watching Reflection in a Dead Diamond last month to watch Danger: Diabolik. The psychadelic motifs of and dream sequences of Reflection in a Dead Diamond seemed to draw from European cinema’s brief flirtation with super spy and super villain films during the 1960s. Danger: Diabolik was Mario Bava’s and Dino DeLaurentis’ take on the French Fantômas film series.
Bava’s expertise in genre films and special effects gives Danger: Diabolik a more sophisticated look than you would give it credit. Add in the film’s 1960s modernist aesthetic, James Bond type action sequences and you have a winning film. The humour-heist plot is very of its time but still entertaining and cried out for a remake. Terry-Thomas’ character performance as a government minister in the film is one of brilliance.
Useful tools.
I was saddened to read of the demise of The World Fact Book published by the CIA. I found it invaluable as a starting point when getting up to speed on international campaigns on parts of the world that I hadn’t visited. It even helped me win some work with Telenor Myanmar back before the current military regime got back into power. According to this post on the CIA website the World Fact Book is going away.
This personal productivity playbook by CJ Casseili was interesting to read and some of you may find tips and tricks that you can apply in your own work and personal life.
Ilina Scott’s quick guide to AI tools for strategists is worth a read if you are just dipping your toe in the field.
Occasionally software comes along what doesn’t become a mainstream success, but is well loved and much missed when it disappeared. Apple’s HyperCard was one, another was Yahoo! Pipes. The idea behind Pipes has been resurrected and in its latest iteration is very useful, even in a time of AI-with-everything.
The sales pitch.
i am a strategist who thrives on the “meaty brief”—the kind where deep-tech or complexity, business goals, and human culture collide.
With over a decade of experience across the UK, EMEA, and JAPAC, I specialise in bridging the gap between high-level strategy and creative execution. I was embedded within Google Cloud’s brand creative team, where I helped navigate the “messy steps” of global pivots and the rapid rise of Gen AI. And have recently been helping out agencies and startups in various sectors.
My approach is simple: I use insight and analytics to find the “surprise” in the strategy. Whether it’s architecting an experiential event or defining a social narrative for a SaaS powerhouse, I focus on making complex brands feel human and high-velocity businesses feel accessible.
The Strategic Toolkit:
Brand & Creative Strategy: From B2B infrastructure to luxury travel.
AI-Enhanced Planning: Deeply literate in Google Gemini and prompt engineering to accelerate insights and creative output.
Multi-Sector Versatility: A proven track record across Tech & SaaS (Google Cloud, Semiconductors), Consumer Goods (FMCG, Beauty, Health), and High-Interest Categories (Luxury, Sports Apparel, Pharma).
I am officially open for new adventures with immediate effect. If you have a challenge that needs a all-in, hit-the-ground-running strategic lead, let’s talk.
Ok this is the end of my February 2026 newsletter, I hope to see you all back here again in a month. Be excellent to each other and good luck with your new year’s resolutions. As an additional treat here is a link to a presentation I gave to the Outside Perspective crew, in Adobe Acrobat format.
Don’t forget to share if you found it useful, interesting or insightful as this helps other people and the algorithmic gods of Google Search and the various LLMs that are blurring what web search means nowadays.
Marc Andreessen’s 2026 AI outlook was published by A16z. As one of the leading funder of Silicon Valley startups, his world view matters.
I’ve gone through and contrasted his 2026 AI outlook through the lens of the viewpoint I researched and wrote up. The core point over where we differ: Andreessen see’s the dawn of a new unbound industrial revolution. Whereas I think that the upside he sees is hard to navigate to; and also risk mirroring the echoes of financial bubbles past in many of the high profile pure play AI companies like OpenAI or C3.ai.
Andreessen has been the quintessential techno-optimist for at least the past two decades with his emblematic essay Why Software Is Eating the World. His worldview is of an industry where demand is insatiable and revenue is undeniably real.
Like Andreessen in his 2026 AI outlook, I would agree that players like Alphabet, Amazon and Microsoft are making money to variable degrees from their AI offerings as part of cloud computing and productivity software bundles.
But in my view there are two aspects of concern:
Pure plays with the notable exception of Anthropic don’t seem to have a clear path to profitability in a time period that would match their implied future revenues based on loans and valuations.
Hyperscalers like Meta and Microsoft are using unusual partnerships to fund their infrastructure and have been inconsistent over how fast they would depreciate their AI computing hardware.
Both Mr Andreessen and myself agree that we are witnessing a technological shift of seismic proportions, arguably, “bigger than the internet” as he put it.
I think that change will happen slower in the short term due to an economic sand box acting as a rate limiter on infrastructure and derived labour efficiencies. In particular, the economic viability of the infrastructure being built to support it.
The Nature of the Boom: Real Revenue or Irrational Exuberance?
A key question is the the solidity of the current market.
For Andreessen, the AI boom is not a speculation fuelled exercise but a demand-driven reality. He argues that unlike the early internet, which required years of physical infrastructure build-out before finding business models, AI is generating cash immediately.
“This new wave of AI companies is growing revenue like… actual customer revenue, actual demand translated through to dollars showing up in bank accounts at like an absolutely unprecedented takeoff rate.”
Andreessen points to “revealed preferences”, observed insight from what people do is more insightful than what they say when asked by market researchers. While the US and European publics express fear of job losses, they are simultaneously adopting AI tools at a fast pace.
My “Dot LLM Era” report, however, suggests this revenue may be dwarfed by the capital expenditure required to generate it.
It posits that the sector faces a “self-defeating economic” cycle. The report highlights that the current valuations of the “Magnificent 10” tech giants (including Nvidia, Microsoft, and Alphabet) imply a forward price-to-earnings (P/E) ratio of 35 times. This is alarmingly close to the S&P 500’s P/E ratio at the peak of the dot-com boom, which approached 33.
In the report I warn that current valuations assume LLMs will drive revenue growth by $1–4 trillion in the next two years.
If this growth is achieved through massive job automation, the resulting unemployment could depress the very economy needed to sustain these companies. Like the 2008 financial crisis, this would invite various forms of regulatory intervention.
This implies a sweet spot between speed of productivity gains versus efficiencies in terms of job losses realised by clients – and acts as a break on the velocity of adoption.
The Infrastructure Trap: The Amortisation Crisis
Perhaps the most critical technical divergence between our viewpoints concerns the hardware powering this revolution.
The “Dot LLM Era” report introduces a chilling concept: Amortisation Risk. It draws a comparison to the “telecoms bubble” of the late 90s, where companies laid massive amounts of fibre optic cable.
The Telecoms Analogy: Fibre optic cable had a useful life of over a decade, meaning even after the companies went bust (like WorldCom), the infrastructure remained useful for Web 2.0.
The AI Reality: Modern AI infrastructure relies on GPUs and TPUs. These processors have a useful life of only 3 to 5 years before becoming technically obsolete.
The report argues that if an AI bust occurs, the hardware will not be waiting for a resurgence; it will be electronic waste.
Hyperscalers are currently lengthening the assumed useful lives of this hardware in their financial filings—Google to 6 years, Meta to 5 years—which the report suggests may artificially overstate profits and adversely affect competitors with debt securitised against AI data centre hardware.
The rapid obsolescence of chips represents a “financial and technological amortisation risk” that could lead to trillions in write-offs, similar to the $180 billion loss left by WorldCom.
Andreessen views this hardware cycle through a different lens: Elasticity.
He acknowledges that massive investment leads to gluts, but argues that “the number one cause of a glut is a shortage”. He believes the price of AI compute is falling “much faster than Moore’s Law”.
As prices collapse, demand will expand exponentially. If chips become cheap and plentiful, AI can be embedded into everything, moving from massive “God models” in data centres down to small models running on local devices.
Geopolitics: The US-China Race
Both Andreessen and I agree that the AI landscape is a bipolar contest between the United States and China, but their assessments of the leaderboard differ.
Andreessen frames this as a “new Cold War” where the US must maintain dominance. He is encouraged by the “DeepSeek moment”, referring to a powerful open-source model released by a Chinese hedge fund. To him, this proves that catching up is possible and that the US cannot rest on its laurels. He advocates for open source as a way to proliferate American standards globally.
I offer a more sobering assessment of American pre-eminence. I argue that unlike the 1990s “Long Boom,” where the US was the undisputed hegemon; the current era is defined by high debt and strong competition. The US maybe on the Soviet side of a Reagan era ‘Space Defence Initative (aka Star Wars)’ AI race from an economic perspective.
Alibaba’s Qwen model claims to deliver comparable performance to American models while requiring 82% fewer Nvidia processors to run.
China doesn’t have a electrical power crunch in the same way that western data centres have due to its sustained investment in coal, nuclear, gas and renewable power sources.
Even Silicon Valley investors and major companies like Airbnb are opting for Chinese open-source models because they are “way more performant and much cheaper”.
Andreessen worries about regulation stifling US innovation, I think that the real geopolitical threats are:
China’s ability to operate largely immune to US sanctions, smuggling chips and utilising data centres in neutral geographies like Malaysia.
China’s speed at propagating the use of AI within its own populace, driving utility at a lower cost per token than their US competitors with state regulation defining trial ‘sand pits’. This will drive new uses faster in China and in China’s client states across the global south.
The Outcome: Transformation or “Minsky Moment”?
Where is this all heading? Andreessen is betting on a future where AI becomes as ubiquitous and essential as electricity. He envisions a “pyramid” structure: a few massive “God models” at the top, cascading down to billions of specialised, cheap models running on edge devices. He admits these are “trillion-dollar questions,” but his firm is aggressively investing in every viable strategy.
I think that LLMs will make a sustained technological impact, but it will be limited in velocity by economic boundaries. In the “Dot LLM Era” report, I outlined seven potential scenarios, ranging from total transformation to total collapse. Currently, it assigns a ~95% likelihood to the “Moral Hazard” scenario.
The Moral Hazard: This scenario posits that major AI players will be considered “too big to fail” due to national security imperatives. Governments will step in with loan guarantees and subsidies to backstop the massive infrastructure debts, effectively nationalising the risk . Rather like the banks during the 2008 financial crisis.
The Telecoms Bust: With a ~75% likelihood, the report fears a “Minsky Moment”, a sudden market collapse driven by the realisation that cash flows cannot cover the massive debts incurred to build short-lived data centres.
Comparative Summary of Perspectives
Feature
Marc Andreessen (The techno-optimist)
My own view (The economic limiting skeptic)
Current Phase
Inning 1. “Biggest technological revolution of my life.”
Phase 1: The boom / The Inflation of a bubble.
Revenue
Real, unprecedented, showing up in bank accounts.
Potentially illusory for at least some players; reliant on untenable cost savings.
Infrastructure
Shortages lead to gluts; cheap chips drive adoption.
Amortisation risk: hardware obsolescence in 3-5 years.
Pricing
Usage-based is great for startups; prices falling fast.
US dominance challenged; Chinese models are more efficient and effective enough for organisations from Singapore to Silicon Valley to adopt them.
Outcome
Long-term ubiquity; widespread prosperity.
Technological change bounded by economic limitations. Current high risk of “Minsky Moment” or government bailouts.
Conclusion: The Trillion-Dollar Questions
Marc Andreessen candidly admits that “companies… need to answer these questions and if they get the answers wrong, they’re really in trouble”. His firm’s strategy is to bet on everything: large models, small models, apps, and infrastructure. He is doing this on the assumption that the aggregate wave will lift all boats.
My ‘Dot LLM Era’ report offers a counterweight to this enthusiasm. A bubble decouples technological and financial progress. Technological utility does not always equal investor profit. As I note in ‘Dot LLM Era’, “Bubbles don’t kill technology from moving forwards”. The internet did change everything, but it also wiped out trillions in shareholder value along the way.
The defining question for the next five years is whether the demand for AI can grow fast enough to pay for the hardware before that hardware becomes obsolete.
If Andreessen is right, this elasticity of demand would save the day. If I am right, we may be heading for the most expensive recycling project in human history.
The Productivity Paradox and Society
A fascinating tension exists between Andreessen’s view of societal adoption and my own macroeconomic warnings regarding productivity and labour.
The “Wingman” Economy vs. The Phillips Curve
Andreessen describes a “symbiotic relationship” where AI acts as a productivity multiplier: a “wingman” for doctors, coders, and writers. He argues that higher pricing in SaaS can actually benefit the customer by funding better R&D, suggesting a cycle of value creation.
I argue that the wingman sweetspot is optimal but tricky to land, in the report I showed the risk through a darker macroeconomic “thought experiment.” It used the Phillips Curve and Okun’s Law to model what happens if Andreessen AI scenario succeeds too well.
The Thought Experiment: If AI automation generates $1 trillion in cost savings through job cuts, it implies approximately 10.5 million unemployed US workers.
The Consequence: Such a spike in unemployment could trigger deflation and a massive drop in GDP. This is “self-defeating economics”: the hyperscalers need a healthy economy to consume their services, yet their success might undermine the investor, enterprise customer and consumer base.
Andreessen counters this fear by citing historical context. He notes the “Committee for the Triple Revolution” in 1964, warned Lyndon B. Johnson that automation would ruin the economy—a prediction that proved false. He believes AI will follow the path of electricity or the internet: initially terrifying, eventually indispensable.
Automation did displace a massive amount of developed world jobs moving at a much slower pace than Andreessen predicted for AI. Electricity moved at an equally slow pace compared to the pace envisioned by AI’s champions.
The Open Source Debate
Both of us agree that the role of open source is pivotal in both narratives.
For Andreessen, open source is the great accelerator. He marvels at how knowledge is proliferating: “Some of the best AI people in the world are like 22, 23, 24”. He views the leak of knowledge as inevitable and beneficial for US competitiveness, provided the US stays ahead.
I analysed the “Red Hat Analogue.” It suggests that in the dot-com era, open-source (Linux) won, but the companies that built the models (or distributions) mostly failed, with Red Hat being the notable exception.
I assigned a ~70-80% likelihood to the “Red Hat Model,” where pure-play LLM creators (like OpenAI or Anthropic) might struggle to justify their capital burn as open-source models like Meta’s Llama or Alibaba’s Qwen commoditise the intelligence.
We have already seen Singapore’s national AI programme drop Llama for Alibaba’s Qwen, reinforcing the idea that the value might accrue to those who service the models, not those who create them.
Final Thoughts
The divergence between Marc Andreessen and my own analysis is not about whether AI works both of us would agree that the technology can be magical and transformative. The disagreement is about who pays for it, how that affects the velocity of AI andwho profits.
Andreessen sees a future of abundance where falling prices drive infinite demand.
My own view sees a future of financial reckoning shaping the 2026 AI outlook where shorter hardware lifespans and brutal competition erode margins, setting a slower pace at which we reach Andreessen’s abundance.
Andreessen’s viewpoint reminded me a lot of mid-20th century aspirations for nuclear power. Nuclear power offered a similar vision in the mid-20th century of electricity too cheap to meter. That was never close to being achieved in the likes of France – arguably the most passionate adopter.
As with the railway mania of the 1840s or the optical fibre boom of the 1990s, society may inherit a significant infrastructure, with a shorter lifespan built on the ashes of investor capital.
Our differing views boil down to a question for the 2026 AI outlook: are we in the “boom” phase, or are we staring down the barrel of the “amortisation crisis”?
As Andreessen himself concluded, “These are trillion-dollar questions, not answers”.
Chinese new year CNY 2026 also known as lunar new year, spring festival or Tết festival. 2026 marks the year of the fire horse. In the same way that the Super Bowl and Christmas are the stand out times of the year for advertising in the US and Europe, CNY 2026 will be the same for much of east Asia and Southeast Asia.
There has a large amount of tradition and rituals around celebrating the festival, which are rich seams of inspiration for strategists and marketing moments.
I featured an advert from Brunei for the first time.
As with previous years, Malaysia had a lot of campaigns running, many of which were partnerships with local musicians to collaborate on a seasonal song. One of the advantages of partnering with local musicians is their ability to cross post on their own channels broadening the videos reach.
In the Malaysian adverts that were storyteller driven, coping with aging relatives suffering with dementia came through as a common social theme.
Social video has been a great leveller. I have a featured a few videos from small businesses this year which were nicely executed despite operating with minimal budgets.
Coca-Cola in China was notable in that it showed strategic thinking closer to what we now see in the west with social-first ‘Instagrammable’ tactics.
Australia
Godiva
Anywhere up to 8 percent of Australia’s population have some connection to China, which explains why Godiva have done a Chinese new year themed range of chocolates.
Brunei
Flower Journal
Flower Journal is a florist shop based in Brunei, yet they have created a cinematic advert with great storytelling. The craft is arguably better than a number of the big brands featured this year. The work by local agency Cinekota really impressed me.
China
Adidas
Adidas made a film about a school football team and focuses on how the team is a ‘football family’. Reuniting with family is an important part of lunar new year. It’s also about looking forward to the future, hence the children’s wishes.
Apple
TBWA\ Media Arts, Shanghai teamed up with film director Bai Xue for Apple’s CNY 2026 advertisement. The film joins Apple’s series of ‘shot on an iPhone‘ mini movies.
Coca-Cola
Coca-Cola China took a social and experiential approach focused around togetherness. A drone show in Chongqing paired with fireworks that are considered part of China’s intangible cultural heritage was supported by social video clips of a famous father and daughter.
All of this was to address young adults dual sense of togetherness during spring festival as mainland Chinese call CNY 2026. Being together with friends a la Friends and This Life, as well as more traditional family connections.
Valentino
Valentino put relatively subtle lunar new year symbols into a Chinese take on an American diner. The galloping horse zoetrope and red accents throughout the restaurant from neon signs to red floor tiles. As for the film itself, it’s basically a video lookbook.
Hong Kong
Hang Seng Bank
Hang Seng Bank ties into the the importance of welcoming good fortune into your life at Chinese New Year. Celebrities dress as the god of good fortune giving wishes for flourishing prosperity to different neighbourhoods across Hong Kong.
https://www.youtube.com/watch?v=mqYWpeDrtZ8
Malaysia
AEON
Japanese supermarket chain AEON did a Malaysian market specific film featuring a mix of well known entertainers. The giddy up line telegraphing its horse related theme and the cultural impact of K-pop is evident in the whole video.
Affin Bank
Affin Bank is consistent in their lunar new year campaigns. Each year they tell of how a famous business customer battled adversity to succeed. This time it was Malaysian book retailer BookXcess.
Affinity
Affinity is a Malaysian estate agent. The video creative is a pretty run of the mill reenactment of Chinese new year with the horse head mask hinting at the CNY 2026 theme. The song itself is a bit an ear worm.
Air Selangor
Air Selangor hits you with a gut punch of an emotional Chinese New Year story that felt like it came straight of the Thai advertising agencies rather than Malaysia. (Thai agencies are famous for wringing you through an emotional shredder leaving you drained after an insurance ad).
Alpro
Malaysia’s largest prescription pharmacy chain put together a humorous new year film based around the mechanic of three wishes.
AmBank
The film melds together traditions around fabric sharing and lion dance to tell a Chinese new year story of a community coming together.
Astro
Astro is a Malaysian holding company that has a mix of linear TV, connected TV and radio assets. Think the reach of the BBC, but a private enterprise.
Bamboo Green Florist
Bamboo Green Florist is a single shop business based in Penang. For a small business their Chinese new year advert punches above its weight.
Coca-Cola
The first of two appearances in this list by Malaysian group 3P.
GVRide
GVRide is a Malaysian ride hailing app, they sponsored a new year song music video by Namewee alongside other brands.
IJM Land
IJM Land is a Malaysian property developer (part of a larger conglomerate). They position themselves as “one of Malaysia’s property development”. The film sits at the tension between the love of heritage, accumulating wealth and the non-monetary aspects of CNY 2026 – coming together, family, building memories and legacy.
JinYeYe
JinYeYe sell seasonal hampers, so lunar new year is their peak sales time. Their advert is targeted at the global Chinese diaspora and they partnered with Tourism Malaysia alongside local musicians. A bee is considered to a symbol of blessings and represents sweetness, hope and companionship.
https://youtu.be/0YvLVF4TJAE?si=sn4nMWPwykr7WzjM
Lee Kum Kee
Hong Kong’s Lee Kum Lee were the inventors of oyster sauce and have a place in every Asian kitchen cupboard. But their advert is weak sauce (pun intended) that could have been knocked out on PowerPoint.
Listerine
Listerine just straight up sponsored the video of Malaysian producers 1119 for this new year themed music video.
Loong Kee
Loong Kee is a Malaysian food company who makes everything from processed meats to baked goods. This is at least the third year that they have partnered with local musicians who are internet-famous to collaborate on a new year themed song.
Lotus
Lotus supermarket was formerly part of Tesco’s international footprint before the UK brand divested itself of its international stores to Thai conglomerate Charoen Pokphand (CP) Group. This advert taps into family friction and a couple of nice wushu cinema referencing touches. It reminded me a lot of SingTel’s films from previous years.
It handles the diversity of Malaysia well, without the awkward approach that Malaysian Airlines went for.
Malaysian Airlines
Malaysian Airlines focuses on Malaysians coming home. Given that the airline is a government company. While ethically Chinese, and speaking Chinese at home – the woman is a devote muslim.
In reality that’s about 1-2% of the ethnic Chinese population – for ethno-political, social and cultural reasons that I don’t want to get into on this post. The video is as much about a government approved theme as it is about the airline.
Marrybrown
Marrybrown is a Malaysian quick service restaurant. It is really nice how the story moves through time with relatively small but important cues on screen.
Maxis
Malaysian broadband provider took an unusual angle bringing together two erstwhile business rivals in a spirit of shared community.
McDonalds Malaysia
Great storytelling but with a serious topic as middle-aged siblings deal with an aging parent with signs of dementia.
Nescafé Gold
Instant coffee brand Nescafé Gold goes down the sponsored music video route. But with a few noticeable differences:
Better product placement that articulates the customer moment.
A more diverse cast than most of the other adverts.
The video title Gongxi Kemeriahan – is a mix of mandarin and malay – gongxi meaning best wishes or congratulations and kemeriahan means excitement.
All of which are likely to because of Nestlé being a western multinational and the marketers are looking to target all Malaysians rather than just ethnic Chinese.
PMG Healthcare
PMG Healthcare is a regional provider of pharmacies, medical and dental clinics to private health insurance customers.
Mr Potato
Mr Potato is a local potato chip brand in Malaysia. Their CNY 2026 advert is a spoof of the Jackie Chan kung fu film Drunken Master.
Public Bank
Public Bank is a Malaysian headquartered bank. This year they have done an AR-based activation. Each Chinese new year you can go into your bank and get a pack of red envelopes and crisp new bills to give out to family, friends and junior colleagues. So this execution makes sense.
RHB
Malaysian bank RHB continued its theme of inspiring stories told in previous Chinese New Year campaigns through to its CNY 2026 campaign. This year tells the story of Komuniti Tukang Jahit, a small tailors shop that empowers women through sewing skills and fair income opportunities.
Setia
Malaysian house builder Setia takes a lighter comedic approach telling the story of a family’s new year celebration through the eyes of its youngest member. Its lightness of tone is in contrast to other adverts this year which are more of an emotional rollercoaster.
Shopee
Singaporean e-commerce platform Shopee partnered with local act 3P to a Chinese New Year song for its Malaysian ad campaign. Thoughout Asia lunar new year songs and playlists are all over TV, films, Spotify and YouTube playlists. This leans right into that trend.
SPD Racing
SPD Racing is a small workshop that service motorcycles and sell after market parts. This short video is really nicely executed, replacing parts on the motorcycle with red fittings in the same way that people would wear new red outfits on Chinese new year for good luck.
https://www.youtube.com/shorts/1x7RpOLHcTA
Tenaga
Tenaga is a Malaysian electrical utility. There is a nice bit of storytelling about a lion dance troupe. This could be rerun in future years given its lack of specificity to CNY 2026.
U Mobile
U Mobile is a Malaysian wireless operator. Their advert focuses on on the travel use case over lunar new year as more people travel rather than staying at home.
UCSI University
USCI is part of Malaysia’s private education system that sprang out of the positive discrimination of successive Malaysian governments towards Malays in comparison to Chinese and South Asian Malaysians. This was enshrined in article 153 of the Malaysian constitution, New Economic Policy, National Development Policy, National Vision Policy and the concept of Ketuanan Melayu which continues to be a pillar of government decision-making.
https://www.youtube.com/watch?v=ILuFokNxHck
In common with several other films here this year it focuses on the treasure of memories built over the festival and also has a dementia plot line.
Vida C
Vida C is kind of like an energy drink, in a number of Asian countries high vitamin C content is used in the same way that taurine and caffeine are in western energy drinks. They did a relatively subtle product placement in this comedic music video. It’s much less PC than western multinationals would allow.
Watsons
Watson’s is the Boots of Asia. Like previous years it tells a story of family coming together with the joy and chaos that usually ensues. It features Maria Cordero – a Macau born entertainer, radio and TV personality with a famous cooking show based in Hong Kong – but known throughout the region.
Singapore
Carlsberg
Carlsberg launched a pan-Asian campaign with a mix of horse themed packaging design and having it promoted by SKAI ISYOURGOD – a popular Malaysian rapper with appeal across Asia.
FairPrice
Singapore supermarket chain FairPrice focused on the small family moments of the new year celebrations and their ability to build lasting memories. The advert was created by TBWA\ Singapore.
Grab
At first I thought that this ad was aimed at the Malaysian market, but I think it’s aimed at both Singapore and Malaysia. It would work in either, even though some of the brands are Malaysia only like JayaGrocer. It’s unusual because of the amount of brand collabs in it, count them:
Vinda tissues
7Up
GXBank
Jasmine SunWhite Rice
JayaGrocer
Kyochon Chicken
Oriental Kopi
Subway
Secondly, there was the filming of an ad within the ad concept that Orson Welles would have enjoyed.
LVMH
LVMH’s drinks portfolio has been suffering from declining sales. Family get togethers are an ideal consumption moment, so it makes sense that Hennessy leant in with special packaging and a Singapore family reunion ‘kit’.
SIMBA
Australian owned mobile network SIMBA did a very simple sales promotion which is very much in keeping with its value proposition , but the horses are nicely done.
Singapore government
A comedic short film with relatively light social engineering aiming at harmonious relationships and community during CNY 2026. The family were framed as being salt-of-the-earth Singaporean Chinese living in old HDB flat. The universal food photography was very on point.
Taiwan
Coca-Cola
Coke did a really simple sales promotion with a giveaway competition attached to each purchase.
United States
Panda Express
Panda Express is an American fast food chain that specialises in American Chinese food. It kind of sits outside usual lunar new year traditions becoming a Roald Dahl style fantasy.
Vietnam
Coca-Cola
Really simple creative by Coca-Cola. They missed a trick by not creating something as iconic as the US Coca-Cola truck adverts. Instead they phoned in the creative with this spot.
Ensure Gold
Abbott Health’s Ensure Gold is a Complan-type drink designed to fortify health and restore strength. The film uses family union traditions to focus on the past, recover during the Tết festival and look to the future with a shared sense of resilience. The theme is even reflected when the family does traditional ancestor worship and we hear the wishes of their departed family.
https://www.youtube.com/watch?v=bdSib8exz6I
Home Credit
Home Credit are an online financial services company. They provide credit cards, vehicle loans, pre-payment accounts and instalment payments for consumer products. The advert focuses on everyday people and how they prepare for Tết, including decorating the home, getting new clothes and a new karaoke machine for the family gathering.
Mirinda
Mirinda is a Vietnamese soft drinks brand similar to Tango. Their adverts were noticeable for their shortness. They were running 3 five-second spots and two 15-second spots. No real story, but there is energy, brand colours feature heavily and it gives off a joyous vibe.
MyKingdom
MyKingdom is a Vietnamese toy retailer similar to Toys R Us. Their mobile first content focuses on the challenges of parents looking to buy toys that will last longer than the spring festival.
Sunhouse is a home electronics brand. Everything from kitchen appliances to to cookware.
In the advert, they focus on starting the new year healthy, there is a belief in starting the new year as you would like it to go on.
Viettel
Wireless carrier Viettel subverts the idea of a family reunion storyline during Tết. Instead when the family can’t come home, an uncle visits his family members around the country.
As I find more CNY 2026 campaigns I will add them here.
The idea of forgettable cinema came to me while reading Matthew Frank’s newsletter for The Ankler where he repeated a thought exercise that one of his colleagues posed.
Name five films of this decade that will go down as classics.
Okay, I’m waiting.
…still waiting.
I consume cinema the way members of Soho House were famed for consuming gak. Also given my movie tastes, you may disagree with what I think of as classics.
My answer would be:
Sinners – vampires in 1920s America amidst a slice of pre-civil rights life in the deep South
The Boy and the Heron aka (How do you live?) – A Studio Ghibli film, like everything from Studio Ghibli it’s a masterpiece. Just watch it in Japanese with English subtitles as the English dub is awful.
The Order – Jude Law as an FBI field agent in 1970s American Mid-West hunting white supremacists.
The Goldfinger – A retelling of a financial scandal in Hong Kong’s go-go era of the 1970s and 1980s. It draws on the story of the Carrian Group which went belly up in the midst of a corruption and fraud scandal. It saw a bank auditor killed and buried in a banana tree grove. Lawyer John Wimbush was found dead in his home swimming pool. A nylon rope around his neck tethered to a concrete manhole cover at the bottom of the pool. The names had to be changed for legal reasons as the main protagonist George Tan was still alive when the film went into production.
The Old Woman with the Knife – A film adaptation of a Korean novel about a skilled female assassin coming up to pensionable age. It is a thriller that also addresses an aging Korean society and the invisibility of older people.
Bonus
Oppenheimer – Robert Oppenheimer biopic by Christopher Nolan that is visually amazing and does some interesting things with the storytelling.
But the point of the thought experiment was the most films now are forgettable cinema and most normal people would have struggled to name five future classic films.
They are watched by millions – yet never become part of culture. This idea of forgettable cinema used to be a novel idea with only the occasional blockbuster; notably the Avatar series, falling into this category.
Now Matthew Frank argues that forgettable cinema applies across all film making output. He described the phenomenon as ‘Cinemanesia’.
Why do we have forgotten cinema?
The problem might not be the films or the film making, but the change to discover and rediscover films. Frank posits that this is down to the way we now consume media.
Pre-Netflix, we had:
Repeat showings at the cinema, the most prominent example of this for Londoners would be the ‘sing-a-long’ screenings of The Rocky Horror Picture Show.
There is comfort and familiarity in their repetition. Just in the same way that adverts build mental models, fame and salience in our heads through repeated exposure – classic films do too.
Yet we have got to a point where storied film actor / director Robert Redford was better known amongst young adults as the person in the ‘nodding with approval’ man GIF as internet meme, than his film career. The GIF came from Redford’s performance in Jeremiah Johnson.
By comparison Netflix provides us with a conveyor belt of entertaining enough content. We don’t get to build that depth of relationship through repetition. The business model for TV was different. The right films on the right channel had people tuning in because they wanted the familiar.
Instead what we have now is the video algorithmic equivalent of the Spotify playlist or the shuffle play of an Apple iTunes library. Like the music our relationship is largely broken – we can choose something that suits our mood or a broad range of interests.
For most of the time the movies and shows aren’t culture shifting.
Hellhound as a case in point.
Others like Korean drama Hellbound (지옥) have cultural relevancy for a brief while before disappearing again.
I have used Google Trends as a quick and dirty way of showing this phenomenon.
Google Trends isn’t search volume, but the rate in change of search volume and web search volume is an indicative rather than absolute measure of consumer interest.
Channeling my inner Marshall MacLuhan: we have forgettable cinema because the medium is disappearing the message.
All is not completely lost yet.
All is not completely lost. I am a member of Letterboxd, which acts as a sort of ‘movies watched’ diary for me, (you can find my profile here). The Letterboxd community hosts challenges for its members like the Criterion challenge that encourages members to watch films from the Criterion collection in each of several different categories. It’s dynamic is reminiscent of the photowalks and meet-ups that built a real world community around Flickr the photo-sharing site and helped many develop an interest in photography.
