Annalisa Roy and Asad Shaykh have joined Grey London’s planning department as joint heads of strategy.
Roy, who until recently was working as an advertising strategy consultant, is former global brand strategy director of Publicis, and previously head of content strategy at AMV BBDO.
At AMV, she led innovation across several high-profile brands including Braun (P&G), BT, Eurostar, Mercedes Benz, and Foot Locker. At Publicis, she led the global strategy on SCA and worked closely with the ECD on creative development across the whole agency.
She also worked at BBH as a consultant on a series of innovation projects involving a space launch for Samsung and the development of entirely recyclable paper bottles for Absolut Vodka.
Shaykh, most recently Grey Social’s digital strategy director, has previously held various head of strategy roles and is also both director of marketing and communications and head of brand for Pride London–voluntary roles he will continue.
Across a career spanning more than two decades, he has worked in the U,K., U.S. and EU on brand challenges ranging from crafting a bespoke IOT strategy for Vodafone Enterprise to launching Coca-Cola’s most successful market entrant across social in 2018. He has also worked on developing brands including ACCA, AVIVA, Coca-Cola, Dreams, Sky, Swarovski, Vodafone and HSBC.
Roy and Shaykh will report to chief strategic officer Raquel Chicourel, who both will now report into.
Their appointments mark the culmination of a hiring spree by Chicourel in recent months which has also included strategy director Ed Hayne from Saatchi & Saatchi; strategy director Bia Bonani from Saatchi & Saatchi; strategy director Hugo Cain from M&C Saatchi; strategist Polly Goodman from Saatchi & Saatchi; strategist Milan Zum Hebel from Havas London; and digital strategist Josh Hood.
Chicourel said, “The strategy squad at Grey is pretty different. We have been quietly building a team with some of the most beautiful different minds in London. Weird and wonderful, Oxbridge and BTEC, brand and digital. I’m proud that no two Grey strategists are the same. The logic behind this is simple. If you keep hiring the same kind of people you’ll keep getting the same kind of thinking. That’s why diversity lives through every level of our squad.”
She continued, “I’m Brazilian, our heads of strategy are from Pakistan and Italy and some of our new hires are English. Some of us have university degrees, some don’t. Some come from brand and consultancy, others from digital and content. Some do photography and rugby whilst others are sneakerheads, write novels, knit and sketch anime in their spare time. This is how we hire and how we nurture our thinkers. If you want to make famous work that matters to real people in the real world, you need a hit of difference.”
Review: Writer-Director Coralie Fargeat’s “The Substance”
In its first two hours, "The Substance" is a well-made, entertaining movie. Writer-director Coralie Fargeat treats audiences to a heavy dose of biting social commentary on ageism and sexism in Hollywood, with a spoonful of sugar- and sparkle-doused body horror.
But the film's deliciously unhinged, blood-soaked and inevitably polarizing third act is what makes it unforgettable.
What begins as a dread-inducing but still relatively palatable sci-fi flick spirals deeper into absurdism and violence, eventually erupting — quite literally — into a full-blown monster movie. Let the viewer decide who the monster is.
Fargeat — who won best screenplay at this year's Cannes Film Festival — has been vocal about her reverence for "The Fly" director David Cronenberg, and fans of the godfather of body horror will see his unmistakable influence. But "The Substance" is also wholly unique and benefits from Fargeat's perspective, which, according to the French filmmaker, has involved extensive grappling with her own relationship to her body and society's scrutiny.
"The Substance" tells the story of Elisabeth Sparkle, a famed aerobics instructor with a televised show, played by a powerfully vulnerable Demi Moore. Sparkle is fired on her 50th birthday by a ruthless executive — a perfectly cast Dennis Quaid, who nails sleazy and gross.
Feeling rejected by a town that once loved her and despairing over her bygone star power, Sparkle learns from a handsome young nurse about a black-market drug that promises to create a "younger, more beautiful, more perfect" version of its user. Though she initially tosses the phone number in the trash, she soon fishes it out in a desperate panic and places an order.
The one rule to follow is that... Read More