Simian, the showreel building, review and approval and reel analytics platform used globally by creative leaders in advertising (and our parent company here at The Howler), has announced Reel.io Insights: Taming Sales Chaos in Production & Post, a free webinar designed to address the many bottlenecks that have been plaguing production & post-production sales teams for decades.

Premiering April 16th at 11:00 AM PDT and hosted by Kellie Atton, Simian’s Head of Sales, Reel.io Insights will go in-depth on what makes production and post sales processes fragmented and messy – from archaic spreadsheets to overly complicated CRMs – and offer a better, industry-specific solution.

As Kellie explains, “There's never been an ideal, industry-specific way for production and post-production sales teams to connect reels, leads and client relationships. That makes it difficult to keep track of multiple projects, and easy to miss opportunities. Reel.io is changing that.”

In addition to proposing better sales solutions for production & post-production companies, the presentation will also feature sales insights from the likes of B.B. Rivero, President and Executive Producer at Cortez Brothers, and Sara Iversen, Executive Producer at Northern Lights, and conclude with a live Q&A with its guest speakers as well as with the Simian and Reel.io team.

To register for Reel.io Insights: Taming Sales Chaos in Production & Post, visit https://www.reel.io/webinar-signup. Viewers who RSVP may submit questions for any of the speakers during the final Q&A panel. To learn more about Reel.io, visit https://www.reel.io/.

Whole Moon, a standout newer CPG brand to the plant-based milk category, has launched "Straight Up Good,” a bold new brand campaign that arrives on the heels of its national expansion to Kroger in February and surging consumer demand nationwide. The non-dairy alternative, which uses whole ingredients to deliver exceptional taste and superior nutrition, has created a comedy campaign that features colorfully offbeat Whole Moon fans in unexpected situations, enjoying the beverage on its own, not just as a topper.

The campaign was created in collaboration with freelance award-winning creatives Scott Kaplan, Matt Vescovo and Vlad Ivangorodsky, who served as Whole Moon’s bespoke agency, along with celebrated comedy director Megan Brotherton. "Straight Up Good" breaks today with a series of videos across digital and social platforms.

Watch the spots here: 

Straight Up Crazy

Drink it Alone

Drink it Naked

"Finding the right creative partners for this campaign was everything," said Whole Moon Marketing Director Bridget Kavanaugh. “Scott, Matt, Vlad and Megan brought a comedic instinct that perfectly matched where Whole Moon is going. The whole ingredient difference isn't just a nutrition story; it shows up in the glass. In talking with our consumers, what kept coming back to us was how surprised they were by how drinkable Whole Moon is, whether they're frothing for a latte or sipping it straight. 'Straight Up Good' leans into that second behavior because it's the most dramatic proof point we have. But the beauty of it is everything that makes it great alone makes it even better in everything else."

Whole Moon CEO and Co-Founder Susan Knight said, "We built Whole Moon around one conviction: whole ingredients taste better and are better for you. The plant-based category has seen some decline recently, and we believe that comes down to highly processed ingredients and products that don't consistently deliver on both taste and nutrition. Whole Moon is built to address exactly that. Every bottle delivers on taste, texture and wholesome nutrition. This campaign is how we get that message out, loudly and clearly."

"Almost no one drinks plant milk on its own," said Creative Director Scott Kaplan. "You put it in your coffee, your smoothies, your cereal. Whole Moon tastes so great it breaks that habit. We created standout spots with funny product demos where very different characters drink Whole Moon straight in surprising ways. The brand wasn't afraid to do something edgy and memorable, which is pretty rare these days."

“I had a blast working on the Whole Moon campaign,” said Brotherton, who is known for directing high-profile comedy campaigns. “As soon as I read the scripts, I said 'I'm in.' The creatives were super collaborative. They really listened to my input and suggestions as the scripts evolved and when it came to casting we were all aligned. The cast really elevated the scripts and brought out even more humor. It was truly a joy to direct.”

Whole Moon has gained attention for great taste – available in Almond, Oat, Pistachio and Coconut varieties - using whole ingredients. It blends whole almonds, oats, pistachios, soybeans and coconut meat for a rich, slightly nutty flavor and full-bodied texture. The whole ingredients reduce waste while retaining naturally occurring protein, fiber and essential nutrients, including all nine essential amino acids. All Whole Moon products are low in sugar, kosher, dairy-free, gluten-free and Non-GMO Project Verified, with no added oils or artificial flavorings. Whole Moon is available in over 3500 stores nationwide including Kroger’s, HEB, Sprouts, ShopRite, and later this month, will land on shelves in select Whole Foods Market’s this May. 

Whole Moon products are available nationwide. To find a store near you, visit Whole Moon's Store Locator. 

CREDITS

Brand: Whole Moon
CEO & Co-Founder: Susan Knight
Director of Marketing: Bridget Kavanaugh 

Creative Directors: Scott Kaplan, Matt Vescovo, Vlad Ivangorodsky 

Director: Megan Brotherton  

Editorial & Finishing: MackCut
Editor: Zach Gentry

Vaseline has created a new authentication tool and enlisted the help of a Nigerian Prince to launch a fight back against fake versions of Vaseline Body Oils in Nigeria through a campaign created by Leo Singapore of Publicis Groupe.

With the global trade in fake goods estimated at USD 467 billion^[1], Nigeria's skincare market has not been spared. Consumers are increasingly at risk of using products made with unregulated, untested and potentially harmful ingredients that can lead to adverse reactions and health risks. 

While Unilever already works with local authorities, the effects of enforcement action against fakes rarely reach consumers fast enough. This initiative makes it possible for consumers to shop with peace of mind and protect themselves from fakes.

Chat and Check

First launched in Nigeria, the innovation behind the campaign is the Vaseline Authenticator - a free, WhatsApp-based tool that allows consumers to confirm the authenticity of their Vaseline Body Oils in seconds. 

Consumers scan a QR code or click on the WhatsApp link appearing on campaign materials to open a WhatsApp conversation. Users will then chat with the “Prince’s assistant” who would request for photos of the front and back of the Vaseline Body Oil product and receive instant confirmation of whether the product is real or fake. The authenticator is currently built for Vaseline Body Oils, the most vulnerable product to being counterfeited at the moment.

“Counterfeit products are a growing concern for Nigerian consumers, particularly when it comes to products people trust for their skin. This initiative is about making authenticity simple to check, using a tool they already have in their pocket” says Shazan Zahir, Head of Beauty & Wellbeing, Unilever International.

“This initiative is our way of fighting back, not just as a brand, but alongside the consumers and retailers who are affected most. We want every Vaseline product picked up in Lagos, Abuja or anywhere in Nigeria to be the real thing." says Anirban Mullick - Head of Sales Africa, Unilever International.

Getting Real with Royalty 

For years, the idea of a “Nigerian Prince” has been synonymous with online scams, making Prince Chris Okagbue of the Onitsha Kingdom the perfect figure to reclaim the narrative and restore trust.

In the social media video, Prince Okagbue refers to the fake Prince scam but affirms that he is the real thing. He suggests that fakes make people question the authenticity of everything. He picks up a bottle of Vaseline which looks authentic but throws it in the bin as it is a counterfeit. 

At this point, he announces that he has partnered with Vaseline to launch a new solution which allows consumers to check if their Vaseline Body Oil is real or fake. He delivers the campaign slogan: “Don’t let fakes get under your skin.”

Leo Singapore developed the Vaseline Authenticator tool and social media campaign in partnership with Unilever International. 

"This brief started as a counterfeit problem but turned out to be one of the most compelling campaigns we've ever made. A real Nigerian Prince fighting fakes - we felt that would be quite a surprising solution to a real business problem," says Asheen Naidu, Group Executive Creative Director at Leo Singapore.

The campaign will run with OOH buys featuring the QR codes in Lekki for awareness and Surulere which has a strong youth presence and also retail stores across Nigeria, from structured hubs like Market Square and SPAR, to neighbourhood superstores like Justrite, and trusted pharmacy chains such as H-Medix.

^[1] https://www.oecd.org/en/about/news/press-releases/2025/05/global-trade-in-fake-goods-reached-USD-467-billion-posing-risks-to-consumer-safety-and-compromising-intellectual-property.html

CREDITS

Brand: Vaseline
Shazan Zahir - Head of Beauty & Wellbeing, Unilever International
Anirban Mullick - Head of Sales Africa, Unilever International
Ibidare Adegunle - Business Development Manager, Unilever International - Nigeria
Xingyun Tan - Assistant Brand Manager, Unilever International
Janson Tan - Marketing, Unilever International

Creative Agency: Leo Singapore
Chief Creative Officer: Ajay Vikram

Group Executive Creative Director: Asheen Naidu

Creative Technologist: Sergey Mast

Creative Director: Boston Ho, Eugene Yow

Head of Integrated Creative & Production Services: Bettina Feng

Senior Integrated Producer: Isabelle Lee

Client Partner: Melissa Tee
Group Planning Director: Valerie Wang
Lead PR Partner: MSL Singapore, Alicia Thong - General Manager

Supporting PR Partner (Intl): Persuasion Communications
Supporting PR PR Partner (Nigeria): Quadrant MSL
Media Partner: All Seasons Zenith
Supporting Agency: Publicis West Africa

Production Company: Ama Psalmist Visuals, Prodigious

Production House: AMA PSALMIST VISUALS
Head of Production/Producer: Michael ‘AMA Psalmist’ Akinrogunde
Co-Producer: Abraham Christiana

Director: Ibidunni Oladayo
Photographer: Ryan Alabi

Director of Photography: Granville Wilson

Production Designer: Chris Udomi
Assistant Director: Fasunhan Oluwatosin
Post Production: Amos Tan, Jackson Toh, Prodigious
Colourist: Kyle Stroebel
Audio Post: FVSE

The Catapult Film Fund has named five filmmakers to its 2026 cohort, each receiving $10,000 in support to advance early-stage documentary development. Among this distinguished group is filmmaker Lauren Domino, director of Butts: A Backstory, whose project stands alongside work from some of the most respected voices in nonfiction filmmaking today.

A Union Editorial development project, Butts: A Backstory is being spearheaded by Partner/Editor Sloane Klevin and marks the directorial debut of Domino, a Peabody, PGA, and Grammy Award-winning producer. The film is inspired by Heather Radke’s book Butts: A Backstory. It brings together a creative team including Executive Producer/Editor Klevin, as well as Producers Katherine LeBlond and Randy Stulberg.

“When I first read Heather’s book a few years ago, what struck me wasn’t that women struggle with their bodies - we all know that. It was understanding the why behind it: the history, the forces shaping how we see ourselves. That’s what made it feel urgent, and made me see the potential for a documentary that could really resonate,” Klevin shared.

Blending deep-dive reportage with verité storytelling, the documentary explores humanity’s complex relationship with the body through the lens of the butt, examining shifting cultural ideals and how race, power, control, and liberation shape our most personal perceptions.

The Catapult Research Fellowship supports filmmakers at a critical early stage, providing both financial backing and mentorship. The 2026 fellows will receive guidance from Academy Award-winning producer Diane Becker as they develop their projects.

For Union Editorial, the selection underscores the company’s continued expansion into original content development, with Klevin playing a key role in advancing bold, culturally resonant storytelling.

“Bringing together a Peabody and Grammy-winning talent like Lauren with a veteran editor like Sloane Klevin creates a formidable creative engine,” said LeBlond, Head of Production for Film and Television at Union. “The Catapult Fellowship's recognition validates our belief that this project isn't just a documentary - it’s a vital piece of high-level cultural storytelling that Union is proud to champion from the ground up.”

“It fully came into focus when Lauren shared her vision for the adaptation,” Klevin added. “I’m excited to collaborate with her as she develops it through the Catapult fellowship, and proud of the incredible team of women we’ve brought together to make it happen.”

The Catapult Research Fellowship marks a significant step forward for Butts: A Backstory as it moves deeper into development, supported by one of the documentary field’s most respected early-stage incubators.

CREDITS

Director/Producer: Lauren Domino

Executive Producer/Editor: Sloane Klevin

Producers: Katherine LeBlond, Randy Stulberg

Based on the Book Butts: A Backstory by: Heather Radke

Project: A Union Editorial Development Project

Commercial Directing Film School has announced the 5th Annual Filmmaker Retreat Joshua Tree will take place from October 1st through October 4^th of this year. Reaching this five-year milestone, the retreat remains focused on a singular, grounded truth, according to founder Jordan Brady of True Gentleman. The theme for this session is “No POV, No Work.” Says Jordan, “In a crowded marketplace, a filmmaker’s only true leverage is their specific, human perspective.” For information on how to register for this event, go here. Attendance is strictly limited.

For half a decade, the retreat has served as a sanctuary for directors, editors, and cinematographers to strip away industry noise and reconnect with their creative identity. This year’s retreat will remain strictly focused on the filmmaker’s individual point of view.

“Directing is all about having a point of view, not just on the project, but towards your storytelling,” Jordan continues. “Finding Your Voice" is The only way to stop chasing trends is by ‘Finding Your Voice’ and start leaning into a vision only you can provide.”

The retreat boasts impressive results, Jordan adds: “The ‘Joshua Tree Effect’ is measured by alumni who consistently move into top-tier commercial representation and helm global campaigns.”

Says commercial director Kevin O'Brien, “Jordan’s retreat was one of the best investments I've made in my career. You’ll learn about yourself, find tried and tested processes for winning jobs, and build a community. It's a must-attend.”

Capped at just 15 filmmakers to ensure transparency and mentorship, the retreat is a 360-degree career reset. The all-inclusive experience removes logistical barriers so participants can focus entirely on their trajectory:

• The 4 R's: Actionable sessions on Reels, Relationships, Revenue and Repeat Business and How to Win the Pitch are just two modules, for example.

• High-Performance Environment: Each Filmmaker gets their own private room, all meals on site prepared by a resident chef, and Magic Mind mental performance elixir.

• Radical Community: Lasting professional alliances forged through shared meals, hike and a curated Tequila tasting sponsored by True Gent.

• The Desert Reset: A guided expedition into Joshua Tree National Park to find perspective outside the frame.

The Howler reached out to Jordan to get a deeper dive on the Filmmaker’s Retreat, including its origin, its structure and what filmmakers can get out of the process. Here’s what he had to tell us.

What motivated you to launch the retreat? Was this an outgrowth of your work with the Commercial Directing Film School?

Jordan Brady: The retreat was borne from attending film festivals, hanging with filmmakers and from our one-day, intensive Bootcamps. Filmmakers fly to LA for the Bootcamp and always express they wish there was a day two. So this is three days and three nights, chilling with like-minded professionals of all backgrounds, talking shop and sharing our personal journeys.

I think what appeals to everyone is to be in a place with other humans, not fully off-grid, but being present with like-minded filmmakers.

Is there a selection process involved in signing up for the retreat, or any qualifications that are required for signing up, or is this a first come, first served format? 

It’s first come, first served. We’ve had all levels, and not just directors. Writers, actors, DP’s, agency creatives, producers and a production designer have all taken part. I do a call with anyone on the fence to talk them out of coming. The last thing I want is for someone on the fence. It’s an investment in your career, but some might be better off using the money towards their short film.

Describe a typical day for those attending the retreat? What does the agenda look like?

Jordan: Thursday night we have a screening in the Sanctuary, which is our headquarters. It’s loose, we unwind and get to know one another with a “Greet & Howdy.”

Everyone stays in their own rustic, private room. We meet at the on-site cafe, and the food is great. It’s a custom-menu for the participants I plan with the chef. I have a suggested prompt for each meal. So the discussion at one  breakfast was;  “How are you getting most of your opportunities?” Another was "Describe your dream project and what are you doing about it.” We have modules I teach, they’re very interactive Q&A sessions. I play actual Zoom calls, talk through career management and ultimately how to infuse your voice into every shoot.

On Saturday we take a party bus into Joshua Tree National Park for a hike and lunch. That’s where lasting friendships are made. I try to get one-on-one time during the drive and hiking around. Saturday night’s fire circle is an intimate session. True Gent also sponsors our top shelf tequila tasting. (Non-alcoholic options abound, too.) 

My EP/Producer Kim Bradshaw came and did a Q&A that everyone loved. Real talk, real numbers. 

Are attendees required to do anything in preparation for the retreat? What do you tell them they should be doing or thinking about before they make the trip to Joshua Tree? 

Jordan: Many have attended my Commercial Directing Bootcamp or taken an online course, but they’re not necessary. Every year has seen a filmmaker return for a second trip. I do an onboarding call over the summer with everyone, so I just ask them to really think about their dream spot, or kind of film, spot, show that they aspire to do.

What made you choose this venue for the retreat? What role does it play in the event? And would you ever consider holding the retreat in a different region of the country?

Jordan: I’ve had three films play at Slamdance, and they asked me to do a seminar on Indie filmmaking vs. Commercial Directing. Since it was during the pandemic, they held it at the Joshua Tree Retreat Center, with screenings outdoors. It’s on magical, indigenous grounds and I felt a calling. This is it. Slamdance introduced me, and now we’re at year five.

I’d love to hold the Filmmaker Retreat in Tulum. I’ve talked with Marcus Nispel about coming to his compound in the Bahamas. And Asheville, NC has a vibe that works too.

What should attendees expect to have learned or gained after taking part? What do they take home with them? 

Jordan: I want each filmmaker to leave with actionable steps to make that dream project come to the screen, to create lasting friendships and build a renewed sense of passion for what we do.

De’Longhi has launched a new global platform designed to accelerate growth in the premium at-home coffee category, combining commercial insight with design-led storytelling to shift consumer perception. 

At the heart of the platform is ‘The World’s Smallest Coffee Shop’, a proprietary De’Longhi concept developed in partnership with creative agency LOLA Madrid and brought to life in collaboration with master craftsman Simon Weisse, the visionary model-maker known for his miniature work for filmmakers including Wes Anderson (The Grand Budapest Hotel, Asteroid City), Luca Guadagnino and Wim Wenders. The platform will roll out globally across retail, digital, social and experiential channels as part of De’Longhi’s wider brand and commercial strategy.

The initiative responds to a key barrier within the category: despite more than 80% of coffee now being consumed at home and the global home coffee machine market exceeding £12 billion, 72% of consumers still believe the best coffee can only be achieved in a café. To address this, De’Longhi has created a series of intricate miniature coffee shop façades inspired by iconic coffee cultures including Milan, Tokyo, Paris, Copenhagen and Berlin. Handcrafted by Weisse’s Berlin-based studio using traditional model-making techniques, each façade is mounted directly onto De’Longhi’s bean-to-cup machines, demonstrating that the authentic, immersive coffee experience people associate with cafés is no longer confined to physical locations, but can be recreated at home with precision and ease.

Each piece has been hand-built over hundreds of hours by a team of specialist model makers, using traditional model-making techniques to create highly detailed, tactile environments that mirror the atmosphere and identity of real-world cafés. From architectural textures to aged finishes and intricate detailing, the craftsmanship is intended to evoke the same sense of care and precision that defines both coffee culture and De’Longhi’s product engineering. The initiative aims to shift consumers’ perception of the perfect coffee experience from out-of-home consumption to the idea that coffee shop–quality coffee can be even better at home

The activation showcases De’Longhi’s core portfolio of bean-to-cup machines, including Rivelia, Magnifica Evo Next, Eletta Ultra, Eletta Explore and Primadonna Aromatic, each positioned as a complete coffee system capable of delivering a full barista-quality experience at home.

“The perfect cup of coffee is no longer one that is exclusive to cafes; with De’Longhi, a perfetto experience can be owned at home with finesse and flair,” said De’Longhi CMO, Aparna Sundaresh. “That is why we have partnered with Simon Weisse to create an imaginative and immersive experience that places the world’s smallest coffee shop, a De’Longhi, on the kitchen counter. Each design showcases how one machine can unlock an entire café menu, customised at ‘one touch’ of a button. By shrinking these iconic institutions and housing them on our products, the project shows that the coffee once sought in the street is now a reality for the home, offering a variety of drinks. The café hasn’t just been miniaturised; it has been brought home.”

Tomás Ostiglia, Executive Creative Director at LOLA Madrid, added: “We noticed that the design language of iconic coffee shops and De’Longhi’s machines shared the same precision and personality. So instead of telling people they can have coffee shop quality at home, we decided to show it, by literally turning our machines into tiny coffee shops from around the world. Collaborating with Simon allowed us to elevate that idea through true craftsmanship, bringing a level of detail and artistry that mirrors the care people expect from their favourite cafés.”

Founded in Treviso, Italy, De’Longhi is a global leader in the home coffee machine category, renowned for combining Italian design, craftsmanship and technological innovation to deliver barista-quality coffee experiences at home. Coffee machines sit at the heart of the brand’s portfolio, with a focus on fully automatic bean-to-cup systems that bring quality, variety and ease into everyday rituals. As part of the global rollout of ‘The World’s Smallest Coffee Shop’, the installation will be showcased at Milan Design Week 2026, reinforcing De’Longhi’s position at the intersection of design, culture and innovation, and highlighting how its products transform from functional appliances into aspirational lifestyle objects.

CREDITS

Client: De’Longhi

Brand: De’Longhi

Campaign: Tiny Coffee Shop

De’Longhi Team:

Chief Marketing Officer: Aparna Sundaresh

Creative Communication Director: Billy Burgess

Head of Brand Experience: Valentina Bonutto

Brand Managers: Claudia Lovadina & Alice Spadotto

Head of Paid Media: Alessandro Cuomo

Earned Media Director: Eva Bojtos

Head of Earned Media: Carlo Ferrari

Lead Agency: LOLA Madrid

Executive Creative Director: Tomás Ostiglia

Creative Directors: Andrea Afeltra, Munia Bilbao, German Rivera Hudders, Saray

Gonzalez

Creative Supervisor: Pablo Luna

Senior Copywriter: Kenny Quiroz

Head of Art: Juan Sebastián Moreno

Art Director: Natalia Cabrera

Copywriter: Natalia Chona

Designer: Maria Sancho Suay, Rodrigo Muñoz

Junior Designer: Ferran Solà

CEO: Tom Elliston

Account Supervisor: Nadia Salahie

Head of production: Felipe Calviño

Producer: Jorge Saade

Junior Producer: Luisa Ojeda

Production Company: Creator’s

Director: Sam Walker

Executive Producer: Chris Barrett & Jani Guest

Producer: Jason Scanlon

Production Manager: Luke Tilbury

DOP: Tristan Oliver

Animator: Andy Biddle

Editor: Saam Hodivala & Adam Buckmaster

Post House/VFX: Comppo

VFX Supervisor / Creative Director: ComppoVFX Executive Producer: Julian L. Coppola

VFX Producer: Luciano Taccone / Lila Izquierdo

Grading: Bacon X

Sound Design: Factory

Sound Design & Music Composer: Anthony Moore

Producer: Emily Thomas

Photographer: Marco Di Mori

Media agency: Mediaplus International, Munich, Germany

Global Client Lead: Carolina Medrano

Unit Director Client Consulting: Philipp Haas

Group Head Client Consulting: Caterina Andolfato

Director Digital Client Consulting: Huyen Dihn

Senior Client Consultant: Xavière Hachard,

Client Consultant: Anastasiia Cherkashchenko

The American telecommunications leader in the Pacific Northwest, Ziply, has launched a new campaign that turns the tables on typical commercials from fiber optic providers. Two :30 spots for broadcast and two longer versions for social present Ziply customers in unusual tonque-in-cheek scenarios. In “Council,” Ziply customers harangue a company representative at a town hall meeting, complaining loudly about how great their service is. They are not used to fast, reliable and inexpensive fiber service, with no strings attached. In “Neighbors,” zombie-like Ziply customers recommend the service to a family that has just moved in: “We saw the light. We all did,” they say in a weirdly affectless tone. “No bundles, no speed sharing with neighbors. We’ve never been happier.”

The campaign was created by Ziply in collaboration with NorthxWest, a creative advertising consultancy led by award-winning freelance creative director Mishy Cass, celebrated creative director/copywriter Jeff Barry and former Head of Production turned prolific freelance producer Tanya LeSieur. The work was produced by Good Behavior, the two-time (2024/2025) Advertising Age A-List Standout Production Company, with Brandt Lewis directing.

Multiple agencies pitched the business. All were paid by Ziply Fiber for their concept work before NorthxWest was ultimately selected to produce the full campaign. Both Ziply Fiber and NorthxWest benefitted by keeping the production lean – leading to lower production costs, minimal overhead and expedited decision making.

"The evolution of the Ziply Fiber brand has always been about balancing this critical piece of technology our customers rely on nearly 24/7 in their lives, with a company that wants to be friendly, responsive, and easy to do business with," said Ziply’s VP Brand Marketing Ryan Luckin. "Our previous campaigns were very successful at capturing interest from early adopters – those anxious to make the switch from cable to superior fiber internet. North X West recognized that introducing elements of comedy and more live action would separate this campaign from previous work, while also attacking the belief that all internet is created equal.

"I can honestly say this was the first time during a wardrobe fitting that we were all laughing hysterically, just seeing how all the characters and their quirks were coming to life," said Cass. "Plus, thanks to Brandt and his team, we were able to land on an incredible cast with major comedy and improv chops; casting was an embarrassment of riches to say the least."

"This was such a fun project to work on," said Lewis. "It was a much tighter, smaller team that was working closely with the client and it made everything run super smooth. All the key decision makers were present and collaborating every step of the way which made our ability to adjust and try new ideas much faster and more feasible. It’s how we wish every project could work."

CREDITS

Brand/Client: Ziply Fiber

Ryan Luckin, VP, Brand Marketing

Rod Putney, General Manager - Company Marketing and Residential Sales/Service

Megan Osgood, Brand Manager

Helen Lauen, Founder-Head of Strategy REDefine Strategy

Agency: NorthxWest

Mishy Cass, Executive Creative Director/AD

Jeff Barry, Creative Director/CW

Tanya LeSieur, Executive Producer

Production Company: Good Behavior

Brandt Lewis, Director

Victoria Gruenier, Executive Producer

Adam Lawson, Head of Production

Megan Pfaffenroth, Producer

Bentley Rawle, DP

Editorial and Post Production: HutchCo

Jim Hutchins, Founder/Editor

Jane Hutchins, Executive Producer

Jimmy Hutchins, Socials Editor/Cutting Assistant

Paal Rui, Post Producer/Finishing & GFX Lead

Grace Nau, Associate Producer

Independent agency Do Not Behave has created a new campaign for research charity Autistica, challenging the public to be more accepting of autistic people’s behaviour. 

This is Do Not Behave’s first work for Autistica following its appointment to the account earlier this year. Previously Autistica’s agency was House337. 

At the heart of the campaign is a 60-second film which launches on April 2nd via social media to celebrate World Autism Acceptance Day and Month. It will air on Instagram, TikTok, Youtube, LinkedIn and the Autistica website.

The film features autistic people talking about their coping strategies, and challenges the public to be more accepting by pausing, rethinking their assumptions and responding with greater understanding. 

Called “Autistic. So What?”, the film aims to educate society and shows how autistic traits can be misread in everyday situations. A close-up of a woman in a busy café shows them tightly gripping a cup of coffee. A voice over says: “I don’t do eye contact. So what? I’m listening to every word.” 

In another shot we see two people at the water cooler in an office filling their cups whilst another person looks over from their desk. The voice over says: “I don’t do small talk. So What? I focus on the things that matter.” This is repeated in other scenarios. 

Finally, actor and writer Bradley Riches, who was diagnosed with autism aged nine and appears as an autistic character Lewis Barton in Emmerdale, is seen preparing to go on set. His voice-over says: “I wear noise-cancelling headphones. So what? It’s how I get my best work done.”

As the film ends, a title appears on screen with the words: “Autistic people adapt to live their lives every day. Isn’t it time we adapted to theirs?”   

Co-created with the autistic community, the film features autistic people in everyday moments where they are too often misread or judged. It is set to the sound of Bloc Party’s track ‘Positive Tension.’ 

Out of Home executions will run via Ocean Outdoor super sites and regionally to support the ‘So What?’ Theme. 

The campaign is the latest stage in Autistica’s “Our World 2030” strategy aiming to improve conditions for autistic people by the end of the decade. The work is built from behavioural insight to ensure the focus is on real behaviour change, clearly highlighting why it’s important to interpret difference differently.

Do Not Behave creative director Jo Moore says: “It has been an amazing journey working on this campaign with Autistica. We’ve loved having such positive input from the autistic community, and those who came to the casting had certain lines that resonated with them personally. And it was brilliant being able to use Bloc Party’s Positive Tension. We think this campaign will make a huge contribution to the way autistic people are accepted by society.”

Bradley Riches says: “This film matters because it challenges attitudes towards autistic people. It takes the phrase “So What?” and turns it back on the judgement, asking people to respond with more understanding and, ultimately, greater acceptance.”

CREDITS

Do Not Behave: 

Executive Creative Director: Jo Moore & Sue Higgs

Art Director: Sue Higgs & Jo Moore

Writers: Sue Higgs & Jo Moore

Chief Strategy Officer: Sarah Davies

Strategy Director: Rachel Abbott

Agency Producer: Sue Lee Stern

Autistica:

Chief Executive Officer: Rebecca Sterry

Director of External Affairs: Dan McLean

Director/ Production Co: Rob Sanderson, NOT JUST ANY

Exec Producer: Thea Slevin

Producer: Francesca Di Muro

Editor: Charles Gamble, Cabin Editing Company

Post Production: OkayStudio

Sound Design: Parv Thind, Noble State London

Typographer: Aaron Pacey

Motion designer: Pete Lourenco

DoP: Ahmet Husseyin

Music Supervision: Gary Hilton @ GAS Music

Track: "Positive Tension" by Bloc Party

Thanks for usage permissions and support: Bloc Party, Sony Music Publishing and Universal/PIAS/Wichita-Recordings

MAKE, a creative studio built to bridge entertainment and branding through short stories, welcomes Ryan Romans to its team as Director of Creative Partnerships. As the studio accelerates growth across its commercial roster, Originals, and new initiatives, Ryan joins to expand visibility and build partnerships that move the work forward.

Ryan has worked across global campaigns, live events, and experimental production, with experience on projects like the 2024 Summer Olympics and the Call of Duty League. From directing large-scale activations in Las Vegas to launching his own design service company, Savages, his work spans the full spectrum of creative and production.

“The studio's cinematic, emotion-driven work and culture feels like exactly where I'm supposed to be,” said Romans. “I'm here to connect brilliant clients with all of that, and to build the kind of long-term relationships where the best work gets to happen again and again. The work speaks for itself. I'm just here to make sure more of it does.”

Romans brings a strategic understanding of how storytelling and brand marketing intersect, shaped by experience across global campaigns, live events and experimental production.

“Ryan immediately felt like a fit for how we think about and want to expand our creative partnerships,” said Danny Robashkin, Founder and Creative Director at MAKE. “He’s someone who understands the work, but more importantly, knows how to connect it to the right people. With a background across brands, agencies, and production, he brings the experience and relationships that help us build momentum while continuing to define our voice.” 

In his role, Romans will focus on building and strengthening relationships with brand partners, agencies and collaborators. He will work closely with the studio’s creative team to ensure each partnership is rooted in strong storytelling and aligned with MAKE’s evolving vision.

The 2026 AMP Awards – aka the ‘loudest show in advertising’ is set for Wednesday, May 20th at Sony Hall, New York (for more info, go here) and the Association of Music Producers has tapped independent agency TiNY to spread the word — with a social media campaign that has become something of a viral hit within adland.

Meet Boomer – a character as passionate about the show as the people who attend it. He has a boombox for a head. He tears up for sonic branding. He thinks "goosebumps" is a valid KPI. And in his world, there is no higher honor than an AMP Award. That’s because the AMP Awards aren't like other award shows. Live music. Open bar. A crowd of people who actually care about what they're hearing. 

You can follow @BoomerFromAMP on Instagram, where he can be found documenting great music in advertising, dropping in on agencies and sound studios, and counting down the days until he can hold an AMP Award of his own. His feed is part love letter to the craft, part hype man for an industry that doesn't always get the credit it deserves. Some of Boomer’s recent adventures include him strutting down the street, struggling with a Zoom call, and rapping about entering the AMP Awards.

"The AMP Awards are the loudest show in the business," says Jeff Rosner, co-founder of the AMP Awards and AMP East Coast board member. "Once again, understanding how AMP is a non-profit organization with a limited budget, TiNY was able to capture the spirit of our show and our members with a hilarious, infectious idea."

Mike Rovner, CCO of TiNY said, "Somehow 'guy with a boombox for a head' was the most rational idea in the room. Which tells you everything you need to know about us.”

Adds Tom Christmann, CMO of TiNY: "I've been to a lot of award shows, and very few of them have made me feel things. The AMP Awards make me feel things. Boomer also makes me feel things. I'm not going to unpack that."

For Michael Stoopack, President of TiN, the AMP Awards have become a genuine cultural moment for the ad industry, "Boomer gives us a way to build around that — not just for entries this year, but for a long time after."

Al Risi, Association of Music Producers National board member and founder of music company Groove Guild, put it simply: "His feed reads like a love letter to the craft – from legendary tracks in advertising to breakthrough sound design that makes brands impossible to ignore. Plus, he has a boombox for a head. How can you not love this guy?"

Matt Nelson, AMP's national president and General Manager of Storefront Music, noted how TiNY outdid their work from last year’s ‘talking ears’ campaign. "Last year, TiNY had us falling off our chairs with their Talking Ears campaign,” Nelson said. “With Boomer, they've topped themselves yet again. Great advertising doesn't just look good. It sounds unforgettable."

The Directors Bureau welcomes Agostina Gálvez to its roster of filmmakers for commercial representation. Gálvez’s work across commercials and narrative is visually driven, combining dynamic camera movement with precise art direction. She has directed campaigns for Renault, poppi, i-D, Miu Miu, Valentino, Nina Ricci, Samsung, Gap and adidas, to name a few. She has a knack for portraying women as both confident and beguiling in stories that reflect the cultural zeitgeist and quite often, the sensibilities of Gen Z. 

 Modern soda brand Poppi entrusted Gálvez with its first-ever Super Bowl spot, “The Future of Soda is Now” (2024), named among the game’s best commercials by the New York Times. The spot is a kinetic anthem that leaves a lasting impression with its diverse mix of Gen Z and young Millennial women, ebullient colors and some mixed media shots in retro split screen. In her short for i-D—“Coach Presents the A-Z of New York Style,” she captures an array of urban subcultures with true-to-life portraits of people you might see while riding the subway. The subjects hit every letter of the alphabet - everything from Downtown Diva and Gotham Goths to Harlem Queens and Midnight Cowboy. 

 “When I first saw Agos’ work, I felt an immediate connection—a wonderful sense of play and imaginative spark in her filmmaking,” said Roman Coppola, Director/Owner of The Directors Bureau. “I'm delighted to have her join The Directors Bureau family.”  

 “The Directors Bureau feels like a truly creative space that values craft and original ideas,” Gálvez said. “There is a genuine love for cinema and storytelling. I’m excited for opportunities to collaborate with creatives who are open to exploring new ideas in narrative, art direction and camera work.”

 More highlights of Gálvez’s work include a series for Renault which portrays the vehicle as irresistible; Kiger’s “Black Enhances Black,” for instance, imagines a troupe of characters in a fantasy hotel that could be a pop art painting coming to life. The spot is striking for its composition, cinematography and production design, and perhaps most impressively, its chic cast of characters, all a perfect complement to the equally irresistible black Kiger. 

And her “A.I. is Here” for Samsung Galaxy seamlessly conveys how the smartphone’s A.I. features help a young girl through her first day at work. It captures the girl’s budding relationship with New York City and the once-in-a-lifetime excitement of beginning your career. 

Movement via performance and camera work, and music are also integral to much of Gálvez’s work, as illustrated in TRESemmé’s “Fluid.” The branded short debuted during Super Bowl LVII pregame and features beautifully choreographed synchronized swimmers who forgo swim caps, making their flowing hair part of the performance. Gálvez worked with renowned Emmy Award-winning choreographer Parris Goebel on the film.  

“Dance has always been part of my visual language,” Gálvez shared, noting her mother treated her to all kinds of dance performances growing up and she had a spot on the girls’ rhythmic gymnastics team. “Being around movement from such a young age shaped the way I see things, giving me an intuitive sense of space, movement and rhythm. Tools that later became key to my visual language.”

Gálvez went to art school with aspirations to be a painter. She also devoured classic films and was an avid photographer. “I did an internship on a film and fell in love with the energy of working with a lot of people on set,” she said. “That experience made me realize I didn’t want a solitary practice and filmmaking was what I wanted to pursue.” 

In addition to commercials, Gálvez has co-directed comedic shorts - The Bride of Frankenstein, filmed in her hometown of Buenos Aires, and Dear Renzo, which continues the story with the same cast, except filmed on location in New York, where Gálvez also lived for nearly a decade. Although she had no intentions to enter those films into festivals - something that took the pressure off and enabled total commitment to the creative - both were eventually selected for New York Film Festival, AFI, Locarno and BFI, and one was acquired by HBO.

In an era where human tragedy has become bingeable entertainment, charity Missing People is fighting to change the narrative. Partnering with BBH London and Sharon Horgan’s production company Merman, the charity has launched a provocative campaign that challenges audiences’ growing thirst for true-life tragedy. 

Whilst someone is reported missing in the UK every 90 seconds¹, true crime consumption is at an all-time high, with 49% of Brits tuning in daily². A missing person has now become a commodity, a story to sell. From the endless churn of true-crime social media videos, to sensationalist podcasts and glossy docuseries, the lived reality of the families left behind risks being buried beneath a mountain of likes, views and ratings. 

People have forgotten that these real stories are about actual real people, which is why Missing People have launched the Responsible Narratives Charter, to which creators can pledge to and tell stories in a way that isn’t disrespectful to families. 

The centerpiece of the campaign is a sharp, satirical film that dives headfirst into discomfort. Directed by Rachel Stubbings with executive producer Sharon Horgan, and set in a sterile writers’ room, we watch a star-studded cast, including Paterson Joseph, Anna Crilly, and Rosie Cavaliero, rifle through potential cases for the next big, unmissable, true crime show. They debate plot points, pacing, and marketability; treating human lives like rough drafts. The twist? Every case discussed is real. The film serves as a brutal reminder that tragedy is not entertainment. The families left behind deserve our respect, our support, and creators should adhere to the principles laid out in the Responsible Narratives Charter. 

BBH and Merman worked closely with people with lived experience of the issue throughout the development of the film and wider campaign, ensuring the work remained grounded in authenticity and respect. 

Ross Miller, CEO at Missing People, said, “Every missing person deserves the attention they need in order to help them to find safety. But it has to be the right kind. The vast majority of the public and the media are supportive and want to help. However, when speculation becomes intrusive or personal, this can add significant pressure to families at a time when they are already going through the toughest moment of their lives. In some situations, the stigma can also make it harder for a missing person to want to reach out.” 

BBH Executive Creative Director Felipe Serradourada Guimaraes said, “A huge part of wanting to be in this industry is the ability to make an impact, even if small. This is such an amazing charity and being able to create a campaign to raise awareness for them is an absolute pleasure. I love the work but it means a lot when it can make a difference.” 

The campaign didn't stop at the film. BBH leant into the thrilling world of crime entertainment by creating an "unmissable" boxset of the "Top Five Cases You Won’t See On TV". And sent them to influencers and press, all yearning for entertaining cases to talk about. Upon opening, the recipients found… nothing. The message was clear: you don't see these cases in the media because society focuses on the ‘perfect’ story, rather than focussing on all missing people cases. 

Merman Executive Producer Sharon Horgan said, "Working with BBH and Missing People to spotlight how we sometimes consume true crime in such a voracious, disconnected way really resonated with me. The writers’ room - where I've spent a lot of time over the years - felt like a very effective setting for exploring how easily human tragedies can be treated as disposable entertainment, forgetting that there are real people and real victims behind these stories. I really hope the film resonates and creates a meaningful impact. It was incredibly affecting to hear these families' stories directly and to collaborate with director and writer Rachel Stubbings again, alongside the brilliant creative team at BBH, to bring such a sharp and bold script to life.” 

The campaign is supported by a series of hauntingly dark OOH posters designed to look like case files, and judged as entertainment with a series of flippant, detached post-it notes from TV producers. 

The whole campaign fits together to hold a mirror up to how audiences have begun to consume stories of human tragedy, and that together, we need to change the narrative. 

The campaign is rolling out across social media and OOH.

¹ Key statistics and figures, Missing People using statistics in the National Crime
Agency report 2023-2024.

² Nearly half of Brits enjoy watching true crime stories before bed, study reveals,
The Sun, September 2025.

CREDITS

Campaign Title: Based on a True Story
Client: Missing People
CEO: Ross Miller
Head of Marketing: Victoria Zabci
Head of Communications: Kate Graham
Communications manager: Chantal Korcz
Agency: BBH London
Chief Creative Officer: Alex Grieve
Executive Creative Director: Felipe Serradourada Guimarães
Deputy Executive Creative Director: Charlene Chandrasekaran
Associate Creative Directors: Ash Hamilton and Sara Sutherland
Senior Creatives:Jack Gravatt and Till Dittmers
Design Director: Miguel Sousa
Deputy CSO: Saskia Jones
Strategy Director: Ally Waring
Senior Strategist: Bethan Wotton
Senior Account Director: Izzy Hooper and Keren Moss
Chief Production Officer / Film Producer: Stephen Ledger-Lomas
Assistant Film Producer: Sarah Cooper
Print Producer: Cyd Chadwick, Natalie Barnes, and Sally Kursa
DVD Box Producer: Stephen Ledger-Lomas
Studio Manager: Toni Polain
Studio Artwork: Jon Ralfs, Dave Walsh
Production Company: Merman
Partner / Executive Producer: Siobhan Murphy, and Spencer Dodd
Director: Rachel Stubbings
Merman Producer: Alicia Farren
Director of Photography: Linda Wu
Executive Producer: Sharon Horgan
Cast: Paterson Joseph, Rosie Cavaliero, Alistair Green, Luke McQueen, Anna Crilly, Freddie
Meredith, and Nimisha Odedra
Editor: Rebecca Luff, Work Editorial
Post-production Company: Black Kite Studios
Colourist: George Kyriacou
VFX Lead: Emily Govinden
Senior Post-production Producer: Thomas Cole
Sound Company: 750mph
Sound Design: Sam Ashwell and Mike Bovill
Mix: Sam Ashwell
Executive Producer: Olivia Ray
Head of Production: Rachel Saxon
BTS Photographer: Jeff Moore
DVD Box and Cover Artwork
Illustrator: Kelly Anna
Studio Manager: Toni Polain
OOH Artwork: Jon Ralfs, Dave Walsh, and Nigel Pullum
Retouching Producer: Connor Farrow-Guy
Retouch & Photography: Tristan Zamula
PR Agency: Hope & Glory

Global post house Church Edit announces the promotion of editor Maria Machado from its Next Gen roster to the company’s main roster - a milestone that reflects both her growth within the talent incubator and the strength of her creative voice. Machado has worked with global brands including Apple, Google, Adidas, Uber, Pepsi, and Nissan, as well as leading agencies such as Ogilvy, Wieden+Kennedy, and BBDO. Recurring director collaborations include The Youth, Giordano Maestrelli (Stink), and Fernando Nogari (Iconoclast).

Machado’s body of work moves fluidly between commercial, music, and narrative-driven projects. Rooted in curiosity and cultural depth, in 2023 she received the Ciclope Latino Award for Best Editing for a project created by Ogilvy for Victoria Beer. Several films she has edited have also been recognized at Cannes Lions, Clio Awards, Ciclope, and The One Show, and celebrated on platforms like Vimeo Staff Pick and Director’s Library.

Born and raised in a small town in southern Brazil, Machado originally studied Design before finding her path in film. She began her career in 2017 at the Brazilian production company The Youth, where she worked across nearly every corner of post-production - from assistant editing and animation to DIT work, post coordination, and even directing small projects. Immersed in Brazil’s DIY, collaborative filmmaking culture with a freestyle approach that felt “a bit like jazz,” as she describes it, she developed an adaptable, hands-on approach that continues to inform her work today. Since joining Church’s Next Gen roster, Machado has steadily refined her voice while contributing to projects such as Pepsi Black’s ‘Sabe Al Maximo’ campaign directed by The Youth and the high-energy spot for Uber Moto directed by Fernando Nogari. Her promotion to the main roster marks a natural evolution of that journey.

Of the promotion, Church Edit co-founder Mah Ferraz says: “Maria’s so talented and has been absolutely crushing it. We’re proud and really excited to have her on the main roster and for what’s ahead at Church!”

“Joining the main roster at Church feels like a new chapter in my professional journey,” adds Machado. “I truly believe that the way we experience culture shapes our creativity, and Church aligns deeply with that by empowering and elevating talent beyond geographical and cultural boundaries. There is something genuinely special that happens when this kind of exchange is encouraged. The opportunity to connect with open-minded, talented, and committed people creates such an inspiring and rich learning environment to be in.”

Multidisciplinary creative studio Entropico, who were recently crowned B&T’s 2025 Production Company of the Year, expands with multiple hires across its Sydney creative and post production departments. 

The team that brought you triple j’s celebrated sonic rebrand, the NSW Government’s high impact #MakeNoDoubt consent and Coercive Control campaigns, Netflix original feature ONEFOUR: Against All Odds, branded feature documentary Lane Violation with Disney+ and Hahn, and Google’s global 2025 Black-Owned Friday campaign (and picked up a D&AD social impact pencil in the process), have raided the creative vanguard to expand their in-house creative and post-production capabilities. 

Entropico, known for delivering comprehensive global campaigns for titans like Google, Square, Peloton, and YouTube, was built on the belief that diverse perspectives and a multidisciplinary creative ecosystem is the best framework for effective advertising and bold cultural moments. The studio is scaling its Sydney team to support its growing global footprint, which also includes offices in Los Angeles and New York City.

Here are the six new reasons the 2025 Production Company of the Year just got even better –

Head of Post Production - Arthur Randell 
Post Production Executive for Emmy-award winning projects, Randell joins from VICE Media, where he served as Senior Director of Post Production. With a career spanning HBO and Showtime, and credits at Tribeca and Berlin Film Festivals, Randell brings a unique expertise in designing complex global workflows and managing large-scale, multi-million dollar operations.

Creative Director - Harri Dunwell 
Formerly of Thinkerbell and founder of BOY! Incognito, Dunwell brings a decade of agency leadership and experience design across brand, digital and emerging technology. With a background spanning fashion, culture, Web3 and AI-powered platforms, he has built and led multidisciplinary teams at the intersection of creativity, technology and contemporary culture. He will lead the multi-disciplinary creative team in Sydney, focusing on work that is strategically sharp and culturally urgent.

Senior Post Producer - Tanya Curnow 
With 15 years of experience at global titans including The Mill and FutureDeluxe, Curnow’s expertise ranges from traditional CG and post-production pipelines to emerging tech involving robotics and game-engine-based solutions. Working directly with brand and marketing teams at the global headquarters of Apple, Google, BMW, Amazon, and Mercedes-Benz, Curnow’s an Australian-born creative production star making some of the world’s slickest tech campaigns – just like Entropico. 

Senior Motion Designer - Supriya Bhonsle
Previously a Creative Lead at Never Sit Still, Supriya specialises in high end commercial motion graphics with a broad skill set ranging from animation to illustration, compositing and art direction. Incredible narrative character design, slick and seamless movement, unexpected and eye-catching illustrative style. 

Senior Designer / Art Director - Anthony “Pads” Hinton 
A former creative lead for General Pants, Ksubi, and Sibling, Hinton’s beauty-in-simplicity philosophy has shaped campaigns for Splendour in the Grass and Vivid 2025. His work is characterized by clean, intentional, and tactile design.

Motion Designer - Karina Smole
With experience in scroll-stopping social assets, slick explainer videos, comprehensive brand motion toolkits and bingeable broadcast campaigns for the likes of SBS, AKQA, Nectar and Future Super, Karina moves effortlessly between hand-rendered animation styles, and data-generative design. Her stylish bold and playful, makes Karina the perfect artist to join Entropico’s growing global motion design team. 

"These six new team members represent the absolute vanguard of their respective crafts,” says Entropico Founding Partner Erin Moy. “By investing in post-production leadership and really interesting artists, we are ensuring that Entropico remains at the edge of creative and production innovation, delivering bigger, better, and more interesting work for our global partners."

Residence, the global network of creative companies, today announced two leadership appointments: Ben Langsfeld has been appointed Chief Creative Officer, and Orion Tait has been named Creative Chair. The moves sharpen the network’s creative leadership at a moment of growth, putting its founding voices in roles designed to accelerate what makes Residence distinctive: independent companies, united by craft excellence and collaborative ambition. 

Residence operates as a network of standalone creative companies—each with its own identity, leadership, and creative culture—united by shared ambition and the ability to assemble cross-company teams around the work that demands it. Ben’s appointment is the forward edge of that model: showing up as Residence with clients, identifying where the network creates advantage, and making sure the right combination of companies is in the room.

Ben is a founding member of BUCK and has been part of Residence since its founding in 2022, and is one of BUCK’s longest-tenured leaders. At BUCK, he served as Chief Design Officer, overseeing the architecture beneath the company’s work with some of the world’s most respected brands, including Apple, Expedia, Google, IBM, JPMorgan, Meta, Microsoft, Notion, Oscar, Pepsi, and more, helping shape BUCK into a global creative company spanning North America, Europe, and Australia.

Orion Tait is a co-founder of both Residence and BUCK and has served as Residence's Chief Creative Officer since the network's founding. As Creative Chair, he steps into a role focused on long-term creative vision, stewarding the values, culture, and principles that define the network’s work and community. Where Ben leads the day-to-day creative energy and client relationships, Orion serves as the soul of Residence: the voice that holds creative integrity across the network as it grows. He will continue to shepherd BUCK’s IP initiatives, including BUCK Games and original animation development. A filmmaker, fine artist, and graphic designer by training, Orion has spent his career pushing the boundaries of visual storytelling across animation, visual effects, and live action, with award-winning work spanning advertising, broadcast, film, and entertainment.

”I’ve known Ben since 1999. He was in college and he's only ever worked with us since,” said Ryan Honey, CEO, Residence. “Ben and Orion have shaped what Residence is. These roles are just the clearest expression yet of what they've always been to this network.”

"The best work comes from people who care deeply about craft and push each other to go further. That shared ambition is what built this network, and it's what I'll keep investing in,” said Orion Tait, Co-Founder and Creative Chair, Residence. “Big ideas that are original and move business are what happens when the right people are truly building together."

“What makes each company here special is a specific way of seeing and making,” said Ben Langsfeld, Chief Creative Officer, Residence. “My job is to know which combination a problem actually needs, bring those voices together, and make sure the name Residence means something when it walks into a room. When that works, we make things that couldn't exist any other way.”

Since its founding in 2022, Residence has continued to realize its ambition to build a network of collaborative companies whose capabilities reinforce one another. As Residence continues to empower innovative, creative talent to grow and thrive across art, business, and culture, Orion and Ben will together shape the creative direction and long-term vision of the network and its companies worldwide.

These appointments follow a period of significant momentum for Residence: the acquisition of OK Cool, and the brand of VTProDesign to ACRONYM, each reflecting the network’s continued growth and the infrastructure behind it.