Corporate America Today is proud to announce the winners of the 2024 Annual Awards, honoring excellence across the U.S. business sector. With an expansive subscriber base of 427,554 industry leaders, Corporate America Today has established itself as a publication of choice for CEOs, CFOs, partners, and directors who shape North American markets.

This year, WORKHOUSE, a premier public relations and communications agency headquartered in New York City, has been recognized as the Best U.S Public Relations & Communications Business of 2024. The agency’s consistent innovation and outstanding performance have also secured its position as a “Top 100 Public Relations Firm” across leading sectors. Additional honors in 2024 include the MarCom Career Achievement Award, Netty Lifetime Achievement Award, Hermes Creative Achievement Award, Communicator Award for Social Impact, and the Best in Biz “Marketing Executive of the Year” for WORKHOUSE Founder & CEO Adam Nelson.

“As WORKHOUSE marks its 25th year, this honor resonates deeply with the journey we’ve taken—championing bold ideas, reshaping the conversation, and setting a new standard in creative communications,” said Adam Nelson, Founder & CEO of WORKHOUSE. “This recognition is a tribute to our clients who’ve trusted us to transform ambition into impact, and to our team’s relentless drive to turn vision into reality.”
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WORKHOUSE stands among the nation’s most dynamic public relations and integrated creative agencies, delivering forward-thinking PR, brand promotion, social media strategy, and modern marketing for 25 years. Clients have included The Rolling Stones, The Charlie Chaplin Estate, Francis Ford Coppola, Lou Reed, Matthew Modine, David LaChapelle, The Anthony Quinn Estate, TheHomeMag, and more. Visit Workhousepr.com

For the first time in decades, The Washington Post will not endorse a candidate in this year’s presidential election, the newspaper’s publisher announced—a decision that has sparked widespread outrage among its staff. If they won’t offer one, our agency will.

The Workhouse Editorial Board—a voice forged in New York City, Trump’s former place of residence —stands firm against the re-election of a man who has dismantled public trust, labeled the press “the enemy of the people,” and warped government into his personal power grab. Our team, led by Workhouse CEO Adam Nelson, knows firsthand the devastation wrought by Trump’s divisive rhetoric. In a former capacity, Nelson assisted with Marla Maples’s campaign during her divorce from Trump and he filmed a segment on The Apprentice in an episode fittingly titled “Ethics Shmethics” (2004), observing Trump’s shameless spectacle of self-interest firsthand. As a communications group that proudly launched the #FreePress campaign during his last term, we affirm that only one candidate—Kamala Harris—represents a true path forward for America.

“America can’t afford another four years of a leader who views truth as his enemy. This endorsement of Kamala Harris is a declaration that we believe in a future where the press is free to report without fear and where power is kept in check—not wielded as a weapon. She embodies the values we stand for, and our endorsement is a stand for truth and the principles that define us.” — Adam Nelson, CEO of Workhouse
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In the midst of holiday films landing on screens this year, Merry Good Enough takes a distinctly different route, bringing something raw and relatable to UK audiences. This isn’t your conventional Christmas story, and with an 11th November release from Kaleidoscope Home Entertainment, it’s set to stand out for its emotional depth and dark humour. Directed by Caroline Keene and Dan Kennedy, and starring Raye Spielberg and Sawyer Spielberg, the film explores the often messy and unvarnished truth of family life during the holidays.

With Kaleidoscope Film Distribution handling international sales, Merry Good Enough is making its way to global audiences after its UK debut. Raye Spielberg, who takes on the role of Lucy Raulie in the film, believes that British audiences, in particular, will appreciate the balance of wit and drama. “I’m thrilled about the UK release,” Raye says. “I believe British audiences will really connect with the film’s dry wit and emotional depth. It’s an honest story, not your typical holiday fluff, and that realism is something I think UK viewers will appreciate.”

The film centres on a dysfunctional family trying to navigate the holiday season after their mother disappears on Christmas Eve. Raye stars as Lucy, the sharp but warm-hearted daughter, while Joel Murray (Mad Men) plays the family’s charismatic but problematic patriarch. Lucy’s relationship with her neighbour Sam, played by Sawyer Spielberg, adds layers of tension and tenderness as the story unfolds, striking a balance between moments of humour and the undercurrent of holiday chaos.

Raye’s connection to the UK runs deep, both personally and creatively. Having spent time performing at the Edinburgh Fringe and soaking up British culture, she feels a natural affinity with the UK audience. “There’s a natural fit here; I’ve spent time in London and even performed at the Edinburgh Fringe, and our writer and co-director Caroline is heavily influenced by UK culture. I think that connection to the region will resonate with audiences,” Spielberg says. “There’s a shared admiration for the storytelling tradition, and I hope British and Irish viewers feel that.”
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One of the film’s unique aspects is its departure from typical holiday cheer, instead focusing on the complex, often uncomfortable realities that come with family gatherings. Raye speaks candidly about how the role of Lucy affected her own outlook on the holiday season. “Filming Merry Good Enough was cathartic, and watching it with my family was even more so,” she admits. “The family dynamics in the film are so relatable and universal, yet they hit close to home for me. I found that working on the movie allowed me to approach my own family with more grace and understanding, which has definitely shifted my perspective on the holidays.”
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Working with her husband, Sawyer Spielberg, on this project brought its own layer of complexity to the film. Though they were playing characters with their own stories and challenges, Raye reflects on how the process deepened their professional and personal connection. “It’s really special how our characters influence each other throughout the film,” she notes. “There’s a mix of shyness, tension, tenderness, and romance between Sam and Lucy. What I love about acting is the freedom it offers—you’re not burdened by your own identity for a while. So, on set, there wasn’t Sawyer and Raye, only Sam and Lucy. His character brings much-needed perspective to Lucy, helping her let go of some of the pressure she places on her family.”

The film’s approach to holiday traditions and familial expectations will likely resonate strongly with British audiences, who have long embraced a love for films that delve into deeper emotional territory while balancing it with sharp, witty dialogue. As Raye says, Merry Good Enough isn’t trying to be a picture-perfect holiday film—it’s grappling with the very real tensions that can arise when family comes together, for better or worse.

Raye, a New York-based actor, is especially excited about the UK release as it aligns with her passion for the region’s theatre culture. “I have such a deep connection with the UK, and I would work there again in a heartbeat,” she says. “The theatre culture in London and Dublin is so rich, and it’s inspiring to be part of that world. This release feels like a natural extension of my love for UK storytelling.”

As the UK prepares to welcome Merry Good Enough, Raye reflects on the feedback she’s received so far, particularly from early screenings. “From what I’ve heard so far, UK audiences are responding to the film’s honesty and depth. It’s exciting to see how it resonates with people who have a different cultural perspective, and it’s made me appreciate the universal nature of the story even more.”

At the heart of the film is Lucy, a character who Raye describes as tough on the outside but deeply caring beneath the surface. “Lucy has a tough exterior and a biting wit, but underneath, she’s all heart,” Spielberg explains. “The holidays stir up a whirlwind of emotions for her, as they do for many of us. She’s a bit of a Scrooge, but that stems from her capacity to love deeply. She’s not just cynical for the sake of it—she’s grappling with her own fears and expectations.”

Looking ahead, Raye Spielberg is already planning her next creative moves, including a mix of film and theatre projects, both in the UK and the U.S. For now, though, all eyes are on Merry Good Enough as it makes its way into British cinemas, offering a holiday film that’s anything but conventional—honest, humorous, and unafraid to show the messier side of family life.

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True collaboration in fashion often transcends the boundaries of medium and artistry, becoming something more than the sum of its parts. Joy Teiken, the creative force behind Joynoelle, and AMI, a photographer whose work speaks volumes in every frame, are an example of such a partnership. Together, they weave an unspoken narrative where fabric and lens work in harmony, creating a visual dialogue that is both compelling and understated.
 
Teiken’s latest collection is a study in texture and form, born from a deep connection to the human body and its natural elements. “These recent pieces are the beginning of a larger collection where the focus is on the imagery and textures of the human body,” Teiken explains. “Microscopic bone detail, muscle tissue, vein lines, and colors. This exploration is deeply personal, though it may not be seen by others since I’m not being literal—it’s my analysis.”


Teiken’s designs are not ones to follow trends. They’re timeless, immune to the fleeting nature of fashion’s fast-paced cycles. Instead, she focuses on textures and materials that tell their own story, garments that breathe life into the wearer. The green gown, for example, is made from cream and green striped silk taffeta, with stitch-pleating that creates a three-dimensional effect—a visual journey within the fabric itself. The burgundy gown, made of silk decorator fabric, features organic shapes that flow like brushstrokes, sewn onto a black organza slip. It’s these kinds of pieces, meticulously crafted and deliberate in their creation, that define Teiken’s work.
 
“I’m a very tactile person and manipulating fabric is an important aspect of my process,” says Teiken. “For me, it’s about what makes sense visually and in my head. I’m open to the organic process of letting things take shape, stepping away, and thinking critically. This is where I’m happiest.” Her relationship with fabric is personal, bordering on intimate. It’s a dialogue between her hands and the material, a conversation that results in pieces that feel not only wearable but imbued with a sense of emotion and depth.


In walks AMI, the photographer tasked with capturing this depth through her lens. Known for her ability to balance light, texture, and movement, AMI’s style is a natural complement to Teiken’s tactile approach. For this collaboration, the challenge was to bring Teiken’s intricate designs to life without overpowering them. “This shoot was all about balancing the duality of Joy’s designs—one look was airy, delicate, and soft, while the other was bold and dark,” AMI explains. “I wanted to showcase that complexity without being overly stylized. My work is about finding that harmony between the designer’s vision and my perspective.”
 
One of the most striking elements of this collaboration is the seamless interaction between the garments and the models. The clothing feels like an extension of the body, fluid and organic, which was no accident. “We wanted the models to feel as if the garments were part of them, not something separate,” AMI says. “It was important that the connection between the body and the fabric was palpable.” AMI’s ability to capture this synergy is part of what makes her work so impactful—the way she plays with light and shadow, bringing out the texture of each garment without losing its softness.


There’s a dreamlike quality to the images AMI creates—models in motion, yet somehow suspended in time. “Fashion photography is often about capturing movement in stillness,” AMI reflects. “I’m always thinking about how to use light and texture to add a sense of motion to still images, and Joy’s pieces lend themselves beautifully to that. The richness of the fabrics, the intricacy of the textures—they almost ask for that kind of treatment.”
 
In one of the standout images, a model wears a black gown made from fringe, sewn vertically over a netted silhouette. AMI plays with light here in a way that makes the fringe shimmer, giving the gown an almost hypnotic quality, as if it’s swaying in a breeze you can’t see. In another, the cream dress with leather bow detail, constructed from shredded cotton, feels soft yet structured, with AMI using delicate lighting to emphasize the contrast between the material’s softness and the sharpness of its design.
 
This collaboration is more than just a fashion shoot—it’s a dialogue between two artists whose work elevates each other’s. For Teiken, seeing her designs through AMI’s lens was revelatory. “It’s always fascinating to see how someone else interprets your work,” Teiken notes. “AMI captured the essence of what I was trying to convey, but she also brought her own layer of meaning to it, which I loved.”
 
For AMI, working with a designer as meticulous and thoughtful as Teiken pushed her creatively. “There’s always this tension between staying true to the designer’s vision and bringing your own perspective as a photographer,” AMI says. “But that’s where the magic happens. In that push and pull, you create something that’s truly collaborative.”
 
Together, Joy Teiken and AMI remind us that fashion is more than just clothing—it’s an experience, an emotion, a story. Their work transcends the transactional nature of fashion photography, moving into the realm of art, where fabric and image merge into a seamless whole. The garments are not just worn; they are lived in, felt, and understood, thanks to the unspoken synergy between a designer and a photographer who, together, are quietly redefining how we see fashion.