M+C Saatchi’s Joint Global CCO on what it will take to win at Dubai Lynx Awards

Laurence (‘Lolly’) Thomson is Joint Global Chief Creative Officer of M+C Saatchi – one of the world’s largest independent creative networks, spanning six regions and 26 countries – and will wear the hat of the Jury President – Entertainment at Dubai Lynx Awards 2026.

Thomson (and his long-term creative partner Rob Doubal) joined M+C in 2024 to lead its next chapter of creative transformation. The appointment followed stints at hot-shops Mother and W+K, and latterly McCann London, where they were instrumental in turning around McCann’s creative prowess and making the UK a hub of advertising excellence – elevating the company from unranked outlier to the #1 UK Creative Agency (Cannes), #3 on the WARC Creative 100, and #6 on Fast Company’s Most Innovative Companies list.

In an exclusive conversation with Campaign Middle East, Thomson delves into the dynamic intersection of brands and entertainment. Emphasising the need for unique, unmissable content, he advocates for ideas that seamlessly integrate into culture rather than merely chase it. In the Dubai Lynx jury room, Thomson is eager to see boundary-blurring formats and work that transcends traditional advertising, positioning brands as sought-after entertainment in their own right.

Reflecting on the evolution of creative work in the MENA region, Thomson notes a shift towards culturally grounded, bold ideas that comfortably resonate on a global scale. He highlights the region’s ability to capture local insights while pushing creative boundaries.

Here’s how the interview played out:

What kinds of creative thinking or approaches are you hoping to see in the Jury room this year? Are there are any themes, formats or creative disciplines you’re excited to see represented in this year’s entries?

When I was a nipper, I think my family were a bit worried about how much TV I watched —a little like Mike TV of Dahl’ Wonka. I could sit there for hours. These days there’s a lot more competing for our attention, and my entertainment diet has widened a tad, but that obsession hasn’t really gone away.

I’m super excited to be heading up this years Entertainment Jury at Lynx – here brand collides with entertainment.. discovering strange new and different work that feels genuinely unskippable — ideas that don’t look like brands chasing culture, but entertainment that actually lands inside it. The kind of entertainment people choose to spend time with.

I’m particularly drawn to formats that blur boundaries: gaming, creators, talent-led ideas, live platforms — work that understands brands today aren’t competing with other ads, but with entertainment giants. This category sits in a sweet spot where brands break out of the ad break entirely and become something people actively seek out rather than avoid.

In the jury room, I keep coming back to are: Is it unique? Does it land in culture? Does it push boundaries while the brand is fundamental to the idea?  And ‘Dang I wish I’d done that’

Do you feel that the MENA region’s creative work has elevated and evolved over the last few years? How?

Absolutely. The work feels braver, more culturally grounded. We’re seeing ideas rooted in local insight, executed at a level that stands comfortably on the global stage. Examples like Impact BBDO’s The New President & AnNahar’s Active Journalism strategy , and FP7’s super funny, super smart HeinzJack reflect that evolution- ideas that live beyond the region. You see that the regions independent agencies are nailing culture and pushing craft and production boundaries-  Obsession the Uysk vs Fury trailer from Big Time Creative Shop- To name but one example.

What does it take to impress the jury panel? How does this reflect the type of real-world outcomes that these pieces of work are attempting to achieve for clients and brands?

Strong ideas don’t force their way into culture—they earn it by understanding the audience and creating experiences people actually want to be part of. That’s what impresses a jury: work that proves its value in the real world, whether it’s drawing an audience worthy of a Super Bowl spot or becoming something people are genuinely willing to pay for.

If you were to share a few strategic insights / pieces of advice that would help clients and agencies in the Middle East region compete at global awards, what would they be?

I’ve always said if work lands first in culture it stands a pretty good chance of landing at awards… So aim for cultural relevance first, not trophies.

Start with what’s genuinely interesting. Be bold, but respect the audience. And remember that context is everything.

That’s the difference between work that looks good in a case film and work that actually resonates with audiences and the global stage.