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Plushie power: More brands are dropping plush toys aimed at collectible-crazy Singaporeans

Plushie power: More brands are dropping plush toys aimed at collectible-crazy Singaporeans

Straits Times09-05-2025

SINGAPORE - It is not exactly Labubu, but that has not stopped big brands in Singapore from pushing their own limited edition plushies out to those who cannot get enough of the latest plush toy trend.
Since April 26, Singaporeans have been flocking to their nearest supermarkets to purchase Milo promotion packs that come with free mystery plushies, as part of the chocolate malt beverage maker's 75th anniversary celebrations. The drink-and-toy bundles are priced from $7.95.
These locally designed exclusive collectibles, split into two series, have generated interest from Milo lovers both locally and overseas.
The Breaktime Set plushies sold out quickly but are set to become available again due to popular demand, while the Breakfast Set plushies are progressively being restocked across the island
Ms Alene Ee, Head of Nutrition and Milo at Nestle Singapore, tells The Straits Times: 'The hunting for Milo plushies in stores has surprisingly brought many Singaporeans together. There have been many stories and posts of families, friends and colleagues bonding over this. What has been interesting was how open Singaporeans have been towards helping one another in the stores to get the plushies of their choice. It was in part a beautiful showcase of our unity in diversity.'
Milo's Breakfast Set and Breaktime Set Plushies.
PHOTO: MILO SINGAPORE
Local telco Singtel as well as restaurant chains Pizza Hut and Sushi Express have wasted no time in coming up with their own equivalents.
Retailing at $6.90 with every Cheeseburger Melts meal combo ($15) or Cheeseburger Melts a la carte ($9.90) since May 5, Pizza Hut's Sir Melts-a-Lot plushie is a cute interpretation of the real deal – a pizza-like crust engulfing its contents, all enclosed within a compact box.
Ms Jayss Rajoo, director of Marketing & Food Innovation at Pizza Hut Singapore, shared that the main objective of its campaign is to 'deepen customer engagement by creating an emotionally resonant product and experience'.
The company also sought to tap into lifestyle trends around 'nostalgia, fandom culture and self-expression, particularly among Gen Zs and millennials, thus reinforcing Pizza Hut's position as a brand that goes beyond food to deliver joyful and memorable experiences'.
While Sir Melts-a-Lot has been snapped up islandwide, 500 of them will be up for grabs again at Pizza Hut's Nex outlet on May 11, at 12 to 2pm and 6 to 8pm.
Sushi Express is also getting into the game. To commemorate classic cartoon characters Tom and Jerry's 85th anniversary, it launched exclusive merchandise - including plushie keyrings ($12.90 with every five stamps, receive one stamp with every $10 spent) - on May 1. The promotion ends on June 30.
Mr Justin Tan, brand and marketing manager of Sushi Express Singapore, notes seeing 'particular enthusiasm on social media, with customers sharing photos of their Tom and Jerry collectibles'. He adds that it has been 'rewarding to witness the multi-generational appeal of this collaboration'.
Not to be left behind is Singtel, which on May 1 launched its Singapore-themed blind boxes that are complimentary for those who purchase any of its $30 or $50 5G+ Tourist eSIMs.
Each blind box contains a plushie (worth $19.90 each) modelled after uniquely Singapore icons – Chilli Crab, Orchid, Durian, Curry Puff and Kaya Toast.
Singtel's Blind Box Collection.
PHOTO: SINGTEL
They can be collected at the Travelex money changer counters at Changi Airport's Terminals 1 to 4 and Singtel shops islandwide.
From May 21, the plushies will also be complimentary at all 7-Eleven stores with purchase of a $15 Singtel Prepaid SIM or with a minimum $20 top-up.
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Free concert, light shows among events in and around Changi Airport to celebrate SG60
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Free concert, light shows among events in and around Changi Airport to celebrate SG60

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Playwright Chong An Ong and director Timothy Koh investigate the meaning of home in Singapore, Michigan
Playwright Chong An Ong and director Timothy Koh investigate the meaning of home in Singapore, Michigan

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Playwright Chong An Ong and director Timothy Koh investigate the meaning of home in Singapore, Michigan

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But when they find themselves trapped in a blizzard, they are forced to confront questions of belonging, passion versus practicality, and what home really means. Developed as part of Pangdemonium's New Works Lab, the play is Ong's first, written during his own time spent studying in the States. Last year, an early version of it was also staged at the Singapore International Festival of Arts (SIFA). In the lead-up to the show, Ong and Koh chat about the inspiration behind the play, the parts they've been looking forward to explore in the rehearsal room, and what they're most excited for audiences to see. Singapore, Michigan stars Ching Shu Yi, Shrey Bhargava and Zane Haney. Courtesy of Pangdemonium How are you guys doing in the lead-up to the show? Timothy: We're in the midst of rehearsals right now, and that's been surprising in the best ways. We're making a lot of discoveries in the room that I wouldn't have thought of had I just read it on the page. I think that's just the magic of what happens when actors come into the space with us. That's always when I'm at my most excited, and when I have the most fun. Chong An, this is your first play. What has it been like getting to stage it? Chong An: It's like a pinch myself moment in a dream. It's really surreal and full-circle, as one of the first experiences that got me interested in theatre was Pangdemonium's Next to Normal production in 2013. I'm aware that they've done new original works before, but it's always been with really established writers and theatre professionals. To be in that company now is daunting, but also really exciting. I'm honoured to be a part of the New Works Lab program in particular, and I look forward to seeing more works come from other Singaporean writers as part of it. What inspired you to write Singapore, Michigan? C: I started writing this play in the winter of 2020, as part of an undergraduate writing workshop at the University of Chicago. 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Courtesy of Pangdemonium Has the play evolved since you first started writing it in 2020? C: For sure. Writers will often say that playwriting itself is a very lonely endeavour, but the exciting part of the experience is when the play meets other people. Having conversations with the Pangdemonium team, receiving feedback from a wider audience at the developmental platform at SIFA, and now having the actors in the room—I get to learn new things about the play and expand it beyond what was a very personal piece that I had written for myself. Incorporating all these different experiences and perspectives of home really enriches the dramatic potential of the piece. So a lot has evolved, not just from when the play first met Pangdemonium, but from when I first wrote it five years ago by myself in a college basement classroom in Chicago. Has writing this play helped you to find some of the answers to the questions you were asking? C: For me, rather than answers, it's more about finding other people who feel similar, and discovering community and companionship through the power of art. That was a conversation I had with Tim as well—about having a more open-ended exploration of the play, and being okay to sit in the ambiguity of it. 'In Singapore, oftentimes, there's this almost ritualistic invocation of the idea of home' Timothy, as a director, what draws you to the plays that you choose to work on—and why this play in particular? T: I've been quite known in the scene for doing classic or classic-adjacent work. That is a big part of my desire to work in theatre, and that will always be there, but what I've also been pushing for in the last couple years is new plays and new young playwrights, because there is nothing more thrilling than being able to create something entirely new. That said, I think that there is a very strong through line in all the plays I choose to do, which is that they all concern intelligent, articulate characters who are faced with very difficult decisions. I like exploring the psychological aspect of characters, and I think this is true both for my classic work and for new plays. But with this piece, I was certainly drawn to it because the characters are so richly drawn and so complex that we learn new things about them every day, and I think that's what makes it fun. Was there an aspect of the play that you were most excited to tackle in the rehearsal room? T: It's no secret that there is snow in this play, and that's something I've been quite excited to play with. Obviously, we're not getting real snow on stage, but when you come see the show, you'll see how we tackled it. This show has some fun sets and scenic moments that we employ, so I'm very excited to tech it because I think that would be the final piece to the puzzle that we've been working on. C: I agree that the snow is very exciting. Winter is my favourite weather, and when I first started writing the script, I always knew this play was going to be set in the winter, because the dissonance of Singapore in the winter is very interesting. But this is such a personal piece for me, so the most exciting thing is really just having these characters and words and emotions that have lived within me for five years at this point come to life on stage. Singapore, Michigan was developed as a part of Pangdemonium's New Works Lab. Courtesy of Pangdemonium Have there been any challenges along the way? C: I have a day job—I'm a civil servant—so it's been a bit of a challenge for me to balance the rehearsal and script revision demands, plus my own personal life as well. T: I'm lucky that this is my day job [laughs]. Every piece presents different kinds of struggles, but weirdly enough, I actually think this has been going quite smoothly. Nothing particular comes to mind. C: I do think there was a degree of trepidation before coming into the rehearsal room, right? There were moments right before and right after we had the actors come in that I personally felt a bit without a safety net. And then afterwards, it was like, 'Oh, this is good. There's a lot to explore here. We're ready for the actors to attack it'. What has that been like—seeing the actors bring your words to life? C: It's really surreal. Words fail to describe that kind of feeling. What I will say is, as a playwright, the ideal is always to be able to create something that is flexible enough to fit different interpretations. That was something that I wanted the text to have. I wanted room for the actors to play and discover, so it's very heartening to see that validated. There is space for other collaborators to come in and offer their own additions, which is the magic thing that you always want in the theatre. T: And we have such intelligent performers in Ching Shu Yi, Shrey Bhargava and Zane Haney. Sometimes I feel the actors might know the characters in more intimate ways than we do, because they offer up interpretations of texts that we don't think about, and we're like, 'Whoa, okay, yeah, that makes so much sense'. I think that is the most enlightening part about the rehearsal process. 'As a playwright, the ideal is always to be able to create something that is flexible enough to fit different interpretations' Lastly, what are you most excited for audiences to see with this play? T: I'm excited for the audience to be challenged. I really like theatre that challenges audiences to think more deeply about situations or people or issues in a way that perhaps they have not thought of before. I would consider this play successful if it raises difficult questions for audiences, while still offering a fun and enjoyable theatrical experience. But I think at the heart of it, I really want the audiences to investigate what home means. What does it mean to belong, and how do you think about home when you're not there? C: When I wrote this play, I included a lot of twists and turns—kind of like the Alfred Hitchcock theory of drama being such that there is a bomb under the table. The audience knows it's there, but they don't know when it's going to go off. We've really amped up those twists and turns in the rehearsal room. Yes, I think it's important that the play explores important themes and provokes important reflections, but I'm also excited to see the audience react to the roller coaster ride that I hope we're creating for them. I feel like it would be very gratifying to see the different energy that each new audience will bring every night. Singapore, Michigan runs from 26 June to 11 July 2025.

Singaporeans look to recreate slice of home in San Francisco Bay Area to mark SG60
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Singaporeans look to recreate slice of home in San Francisco Bay Area to mark SG60

Ms Joy Chee sat on a bench facing Gardens by the Bay's Supertrees, her sketchbook and pen in hand. With furrowed brows and unwavering focus, she recreated the towering structures stroke by stroke. The 19-year-old, a second-year computer animation student at the Ringling College of Art and Design in the US state of Florida, is part of a team of overseas Singaporeans hoping to commemorate the Republic's 60th birthday by recreating a slice of it abroad. Their event, themed A Legacy of 60 Years, will take place on Sept 21 in the San Francisco Bay Area. It is being organised by a team of volunteers from SingaporeConnect, a non-profit organisation that hosts social and cultural events for Singaporeans residing in the Bay Area. First conceptualised in October 2024, the one-day celebration will be open to Singaporeans and non-Singaporeans alike, said Mr Richard Chan, 52, one of the event's co-chairs. With a core team of 11 people, this event is SingaporeConnect's most ambitious yet, said Mr Chan, with a projected attendee size of 3,000, and a volunteer pool of 100 to 150. "This event will be a good opportunity to showcase what Singapore looks like, and who Singaporeans are," said Mrs Tabitha Chee, 54, Ms Chee's mother and the other event chairperson. Mrs Chee currently works as a human resource associate at a church. The Chees were speaking to The Straits Times while they were in Singapore on a trip to gather archival images and other materials for the exhibition. SingaporeConnect is also working with the Singapore Global Network (SGN) to obtain funding for the event. SGN did not reveal the amount of funding granted to SingaporeConnect, citing confidentiality reasons. This event is one of more than 30 ground-up National Day events being organised worldwide, with celebrations also planned in countries such as Australia, China, Saudi Arabia and the UK, the Ministry of Defence said in response to queries from ST. Mr Chan, a start-up founder, likens SingaporeConnect's vision to the tech hub's mindset. "Here in Silicon Valley, we are used to developing start-ups, which are always about dreaming big and persisting through hardships - this is the same mentality we are taking with the SG60 event," he said. Before this, the team had organised several National Day events, including a live-streamed pandemic edition in 2021, with Singaporeans across five American cities. Singapore's history, in themed rooms The event's theme was the brainchild of Ms Emily Lim, the 33-year-old chef and owner of Dabao SG, a Singaporean restaurant in San Francisco, and a volunteer with SingaporeConnect. The Singaporean moved to America's West Coast 11 years ago in pursuit of her culinary dreams, and fondly remembers her childhood in Singapore. Ms Joy Chee's sketch of Gardens by the Bay, a location she has incorporated in her design of the event space. ST PHOTO: LIM YAOHUI She recalled playing in her neighbourhood's dragon-shaped playground, catching spiders and tadpoles, and buying food in her primary school canteen for "just 50 cents". Drawing inspiration from Singapore's history, she aims to evoke a sense of nostalgia through the event. "I wanted to revive the Singapore of yesteryears and rekindle some memories. It's this sentiment that makes us human and pushes us to connect more with one another," she added. One of the highlights will be themed rooms, designed to guide visitors through pivotal moments in Singapore's history: from Sang Nila Utama's arrival in 1299 to the beginning of British colonial rule in 1819, the Japanese occupation from 1942 to 1945, and Singapore's remarkable growth after gaining independence in 1965. Ms Chee, the event's lead artist, is playing a key role in bringing Ms Lim's vision to life. Born and raised in Atlanta, Georgia, she grew up with limited knowledge of Singapore's history. To conceptualise the rooms, she received a crash course in the Republic's history from her mother, who grew up in Singapore, but emigrated to the United States in 1999. Ms Chee supplemented her mother's information with her own research on Singapore's art and cultural history and decided to "incorporate different art styles through the ages". "I began researching art references and various artists that were from that period. For example, the room which depicts Singapore under British colonial rule is designed to resemble a traditional British painting, instead of the more brushy and airy style of traditional Asian artworks from that era," she said. In addition to the themed rooms, the event will feature a performance area with Singaporean talent. Ms Janice Chua, the home-grown creative and associate producer of the film Crazy Rich Asians, will share insights into the movie's production process, while Ms Elisha Tan, a Singaporean comedian based in the Bay Area, is slated to put on a stand-up comedy show at the event. In a dining area decorated with murals of a kopitiam, visitors can enjoy a taste of Singaporean dishes like satay and chicken rice. There will also be kopi and teh at the event, with one vendor putting up live teh tarik demonstrations. Attendees will also have the opportunity to shop for souvenirs at a marketplace showcasing Singaporean entrepreneurs and brands. Ms Lim of Dabao SG said she hopes the event will foster community among Singaporeans living overseas. She said: "As someone who has lived abroad for so long, I hope to see more Singaporeans come together and embrace the value of shared connections." As for Mrs Chee, she hopes attendees will come away with a good sense of what Singapore is, which to her, includes not just its food, but also the story of its people. "The key to Singapore is its resilience. Visitors will be able to see how Singapore has evolved over time, emerging stronger and maintaining its competitiveness at every stage," she said.

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