
Content and social for Korea. Tulip Jamonilla on the anju plate, army stew kept strong, and every film owned by Danish Crown for good. Built to sit beside the distributor's plan.
Prepared for Jakob R. V. Svendsen and the Danish Crown team · 13 November 2026
Phase 1, Philippines: 15 creators delivered to the date, 36 posts against 30 contracted, 4.6% earned engagement, 96% positive comments.
Same shape as the Philippines proposal, so the two read side by side.

Spam is in at Daily Beer, 200 plus stores, and the can is the serving dish. The brand is on every table and in every photo. Canned ham already works as anju in Korea. The open question is who owns the next plate.

There is no English word for it. 정 is the bond that grows between people who eat and drink together, often, over time. Koreans say it is in the pouring: nobody pours their own glass. Each person fills the glass across from them, and the plate sits in the middle.
In the Philippines the moment was a mother making breakfast from almost nothing. In Korea the moment is the round: someone puts a plate on the table so the night can carry on. Both are acts of care that take five minutes and a can. The platform does not change. The culture it lands in does.
Spam owns the family table. Nobody owns 정 on the anju plate.
In Korea canned ham sits in Chuseok gift sets, wrapped and premium. Nowhere else in the world is that true. Tulip never has to apologise for the can.
First round, second round, third. Each one a new venue and a new plate. A film about one plate is a film about one round, and there are five a night.
Many Korean bars require a food order with the drink. The plate is a rule, not a choice. The question is only whose ham is on it.
The default pour is soju dropped into beer. Salty, fatty, hot food is what makes it work. Fried ham cubes are built for it.
Younger Koreans drink alone or in twos at home more than their parents did. A three-minute pan dish from one can is the home anju. Same film, second audience.
Korea invented mukbang. Watching someone cook and eat is the most native format on Korean screens. The creators are already there; the brand only needs to be in the pan.
Every film in the plan sits on at least one of these. None of them needs translating for a Korean viewer.
Danish Crown has said it wants to take a more active role in Korea and own more of its own story there. This plan is built for that: material Danish Crown owns outright, made by a partner who reports to Danish Crown, so the brand speaks for itself in market.
12 of 18 films. The new plate. Young Koreans, out with friends, a dish with every round. Made for ads to drinkers and bar owners, and for the distributor to show bar and pub chains.
6 of 18 films. The money maker, told fresh: fast, generous, modern, no war story. Keeps current accounts warm and gives the sales team something new to show them.
The two tracks do not fight for venues or budget. Both carry the same platform and the same word.
Films of the round, 정, the plate between friends. Run as ads to 20 to 35 year olds in Seoul and Busan. This is the demand.
수요The same films, cut for the bar owner: what their customers want on the table, then the kitchen truth. One can, three minutes, no chef. Run as ads to F&B operators and carried in the distributor's bag.
증거Franchise pubs like Daily Beer, hofs, pochas, and home via convenience stores. Each gets its own cut. Which chains to walk into comes from the distributor's plan.
업태Chain visits, listings, cases and reorders stay with the distributor. They walk in with proof of demand instead of a price list.
판매This is the end to end: content creates the want, proves the want to the buyer, and hands the distributor something to sell with.

Why not influencers: in Korea they cost several times more per piece, the brand rents their audience for three months, and the film is never the brand's.

Feeds everyone. Army stew the way a family makes it, fast and generous.
Army stew · 2 creators
Lives alone, cooks from one can, pours one glass. Home anju in three minutes.
Anju · 1 creator
Film each other across the table. The round, the pour, the plate in the middle.
Anju · 2 creators
Speed and plating. The owner cut: one can, three minutes, a plate that sells.
Both tracks · 2 creators
Gen Z, playful, mukbang energy. Eats on camera, makes the can look fun.
Anju · 1 creator
Shoots the plate like a magazine. Stills, pack shots and the sell-sheet frames.
Both tracks · 1 creatorCast on craft, in Korea, approved by Danish Crown before booking. Photos show the type, not the final names.
You Make the Moment stays the platform. In the Philippines the moment was breakfast for the family. In Korea the moment is the round: the plate that arrives with every drink, put there by the person behind the counter or the friend who brought the can. 한 잔 더, one more.

The glass is filled for someone else. So is the plate.

Small, shared, fast. The night runs on it.

Pack as serving dish. Brand in every photo.

Generous, quick, modern. No ration tin.

Nobody pours their own glass. That is the rule.
You fill theirs. They fill yours. The plate sits in the middle.
Five minutes to make it. Three to finish it. Then the next round.
You do not have to be a chef. You have to be the one who put something on the table.
That is 정. That is the moment.
You make the moment. 한 잔 더.
Three things are true about Tulip Jamonilla, and they are the three things an anju plate needs. The films say only these.
A real place behind the can. On a Korean table that reads as quality, not as foreign.
Say it plainly. The product is the meat. The flavour comes from what is in the can, not what is added to it.
The operator's truth and the drinker's truth at once. The round does not wait.
Approved claims only, as in Phase 1. Nothing about health, nothing comparative, nothing that needs a footnote.
STEW 01
ANJU 02
ANJU 03
STEW 04
ANJU 05
ANJU 06
STEW 07
ANJU 08
ANJU 09
STEW 10
ANJU 11
ANJU 12
STEW 13
ANJU 14
ANJU 15
STEW 16
ANJU 17
ANJU 18
STEW 19
ANJU 20
ANJU 21
STEW 22
ANJU 23
ANJU 24Two audiences, one shoot. The drinker sees the moment. The owner sees the same moment and learns it took one can and three minutes. Shot vertical for feed, framed to crop wide for a sell sheet.
One partner for content and social, one for distribution. Simple to run and simple to explain.
Optional: the 16 Philippines films can be moved to the same perpetual terms. Quoted separately.
18 films, two tracks, all owned. Every one made to run as an ad and to sell with.
Exclusive of GST (not registered). Invoiced 50% on signature and 50% on delivery, as Phase 1. Paid media and product sit outside this. Indicative until the distributor's plan is in.
Danish Crown approves the plan and the number. SOW signed, kick-off call.
9 creators shortlisted and approved, up to two rounds. Product and distributor targets in.
Briefs and scripts approved, feedback in 3 business days. Holiday gap built in.
Filming in Korea, review rounds, approvals.
Edit, cutdowns, stills. Full asset bank handed over with perpetual rights.
Ads and the distributor's sell-in begin. We read the first two weeks with the team.
Approval rhythm as Phase 1: scripts in Monday, signed off Wednesday; cuts in Thursday, signed off Monday. New Year and Seollal (6 to 8 Feb) are built into the dates. Dates move with signature, approvals and material by the same number of days.


Phase 1 proved the model in the Philippines. Phase 2 gives Danish Crown material it owns, a word it can repeat, and a voice of its own in Korea.
Wendy Wang × Danish Crown · Creative AI Marketing · 13 November 2026