Peter Khoury’s LIA Diary: Judging work that contributes to culture, not just interrupts it
After serving as President on the Branded Content & Entertainment jury in Las Vegas at this year’s London International Awards (LIA), Peter Khoury (seated, center), Regional Chief Creative Officer of TBWA\Asia and Chief Creative Officer TBWA\Singapore, shares insights from a judging experience he described as deeply creative, focused, and refreshingly authentic. He also highlights his favourite campaigns that stood out in the judging room.
How did you find the overall judging experience?
We had a jury full of creatives, which doesn’t happen often anymore. The work, the idea, the craft, all benefited immensely because of this. Our conversations had far more depth and focus. As a jury, we were there to recognise work that earned attention, not bought it. Branded Content & Entertainment is where brands stop interrupting and start contributing to culture. It’s where the brand isn’t just a storyteller but also an entertainer. A catalyst. Not just a logo. We were judging creativity, courage and relevance. Work that made people stop scrolling, start watching, and maybe even feel something.
What did you like about the LIA judging system?
There were three standout aspects of the experience:
1. All jury members saw and voted on the work. No shortlisting jury filtered the entries beforehand. That allowed us to fully immerse ourselves in the categories and appreciate the nuance of every piece.
2. There was no recommended quota for awards. That gave us the freedom to decide what deserved recognition.
3. We were allowed to move work into a more suitable category if, after discussion, we believed it belonged elsewhere. That flexibility helped ensure the best ideas got their best shot.
Your 3-5 creative highlights? The standout campaigns that impressed you most.
In Branded Content & Entertainment, the brand should be the reason the content exists. Not just a guest in the room. We rewarded work where the brand elevated the content, not just funded it.
Apple’s “Submerged”
A glimpse into the future of brand storytelling. Immersive, captivating, and wholly unexpected.
L’Oréal’s “The Final Copy of Ilan Specht”
A story you could watch over and over again. This work would not exist without the brand. The line that stuck with me: “A four-word feminine manifesto.” As a lens on the “Because I’m worth it” platform, it could be the gift that keeps giving if L’Oréal explores its dimensions deeply. It’s a way to move from the superficial to the significant.
Netflix’s “Senna’s Cut”
A 1:21:31.4 promotional film for Netflix’s biopic series Senna, masterfully edited to mirror Ayrton Senna’s 1990 Monaco Grand Prix lap. Every gear shift, acceleration, and turn was in sync with the show’s scenes. It didn’t just promote the series. It paid homage to a legend with precision and emotion.
Peter Khoury pictured below with LIA’s Barbara Levy (left) and Laurissa Levy.
