Beyond 'talkable': Big Game spots that aimed further than the watercooler
DuBose Cole, Head of Strategy at VaynerMedia London, offers his views on what viewers were left with after this year's Super Bowl.
The Big Game garners a disproportionate amount of consumer attention, and in a year where nothing has been normal, the most out of the ordinary ads could be the most culturally relevant or empathetic ones.
Super Bowl ads are historically focused on providing the biggest talkable moment during and after the game, through stories, celebrities and jokes people haven't heard before, balanced out by cultural and social commentary.
However, after a year that none of us could expect, it seemed likely the balance may tip towards brands providing commentary on the current state of the world, relating to viewers’ daily experiences during the pandemic or national unrest taking place in the U.S.
It seemed likely that brands would use their airtime as a reminder of where we currently are.
The Super Bowl is a natural moment of consumer escapism, however with the league being so tightly connected to current issues, the pandemic and cultural fault lines, it seemed likely that brands would use their airtime as a reminder of where we currently are.
This isn't to say that we didn't expect to have a selection of the funniest, most exciting or off-the-wall ads brands can create. However, come Monday morning, the spots that focussed on consumers’ current lives and lived experiences around the world were best positioned to stay in consumers’ minds.
This year's Super Bowl posed the challenge of taking viewers to new and unexpected places, in a year where US culture and its citizens have already been taken down many unfamiliar paths. This year we were more likely to have discussed Super Bowl pods or watched on our own than shared the experience at Super Bowl parties – so the dynamic of how advertisements fit into the game changed.
There will always be an element of spectacle on the US's largest stage, but this year it was tempered with acknowledgement and empathy.
There will always be an element of spectacle on the US's largest stage, but this year it was tempered with acknowledgement and empathy. When the Monday morning water cooler moment is partially virtual, being discussed the next day is not the only strategic goal.
Credits
powered by- Agency The Martin Agency/Richmond
- Production Company Partizan/USA
- Director Michel Gondry
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Credits
powered by- Agency The Martin Agency/Richmond
- Production Company Partizan/USA
- Director Michel Gondry
- Executive Producer/Managing Director Lisa Tauscher
- Head of Production Kelly Martin
- Producer Raffi Adlan
- Editing Final Cut/Los Angeles
- Editor Jeff Buchanan / (Editor)
- Head of Production Ana Orrach
- Executive Producer Suzy Ramirez
- Post Production JAMM
- Executive Producer Asher Edwards
- Producer Justine Pregler
- Sound Effects/Audio Mixer Steve Giammaria
- Executive Producer Rob Browning
- DP Darren Lew
- Production Designer Maxwell Orgell
- VFX Supervisor Glyn Tebbutt
- Art Director Jayne Goodall
- Associate Creative Director Deric Nance
- Chief Creative Officer Danny Robinson
- Copywriter Kelsey Whipple
- Creative Director Jonathan Richman
- Creative Director Steve Sage
- Digital Producer Chris Gsell
- Executive Creative Director Jerry Hoak
- Executive Producer Tricia Hoover
- Head of Production (HP) Tasha Dean
- Junior Producer Rachel Bensinger
- Senior Producer Ann Parker
- Talent Daveed Diggs
Credits
powered by- Agency The Martin Agency/Richmond
- Production Company Partizan/USA
- Director Michel Gondry
- Executive Producer/Managing Director Lisa Tauscher
- Head of Production Kelly Martin
- Producer Raffi Adlan
- Editing Final Cut/Los Angeles
- Editor Jeff Buchanan / (Editor)
- Head of Production Ana Orrach
- Executive Producer Suzy Ramirez
- Post Production JAMM
- Executive Producer Asher Edwards
- Producer Justine Pregler
- Sound Effects/Audio Mixer Steve Giammaria
- Executive Producer Rob Browning
- DP Darren Lew
- Production Designer Maxwell Orgell
- VFX Supervisor Glyn Tebbutt
- Art Director Jayne Goodall
- Associate Creative Director Deric Nance
- Chief Creative Officer Danny Robinson
- Copywriter Kelsey Whipple
- Creative Director Jonathan Richman
- Creative Director Steve Sage
- Digital Producer Chris Gsell
- Executive Creative Director Jerry Hoak
- Executive Producer Tricia Hoover
- Head of Production (HP) Tasha Dean
- Junior Producer Rachel Bensinger
- Senior Producer Ann Parker
- Talent Daveed Diggs
To increase staying power, brands’ strategies focused on acts of service – providing help at a time when we are looking to support each other. From VaynerMedia's own Planter's campaign, which eschewed a TV ad to give $5 million dollars to those committing acts of substance, to P&G's pre-game Chore Gap ad, which highlighted the need to address the disproportionate impact of homework on one individual – collective benefit was a value brands banked successfully during the game.
The nostalgic elements of DoorDash's ad, giving the Sesame Street loving child in all of us a hug after 2020, coupled with a clear community benefit to the takeaway we all order, is especially sharp.
Delivery companies DoorDash and Uber Eats, similarly tapped into this by positioning ‘ordering in’ as helping local business – effectively wrapping altruism in with convenience for our locked down lives. The nostalgic elements of DoorDash's ad, giving the Sesame Street loving child in all of us a hug after 2020, coupled with a clear community benefit to the takeaway we all order, is especially sharp.
Credits
powered by- Agency Wieden + Kennedy/New York
- Production Company Arts & Sciences
- Director Mike Warzin
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Unlock full credits and more with a Source + shots membership.
Credits
powered by- Agency Wieden + Kennedy/New York
- Production Company Arts & Sciences
- Director Mike Warzin
- Managing Director/Executive Producer Mal Ward
- Executive Producer John Benson / (Executive Producer)
- Head of Production Christa Skotland
- Producer Casey Byron
- Editing Arcade Edit
- Editor/Partner Jeff Ferruzzo
- Executive Producer/Partner Sila Soyer
- Senior Post Producer Andrew Cravotta
- Assistant Editor Sam Barden
- VFX The Mill/New York
- Executive Producer Clairellen Wallin
- Colorist Tom Poole
- Color Producer Alexandra Lubrano
- Music Search Company Walker
- Executive Producer Sara Matarazzo
- Executive Producer Stephanie Pigott
- Music Producer Danielle Soury
- Sound Design Company Trinitite Studios
- Sound Designer Brian Emrich
- Audio Mixer Brian Goodheart
- Line Producer Zoe Odlum
- Line Producer Kristin Porter
- Art Director Aimee Perrin
- Chief Creative Officer Karl Lieberman
- Copywriter Stu Rubin
- Executive Producer Jessica Griffeth
- Group Creative Director Gerard Caputo
- HP Nick Setounski
- Senior Producer Samuel Kilbreth
Credits
powered by- Agency Wieden + Kennedy/New York
- Production Company Arts & Sciences
- Director Mike Warzin
- Managing Director/Executive Producer Mal Ward
- Executive Producer John Benson / (Executive Producer)
- Head of Production Christa Skotland
- Producer Casey Byron
- Editing Arcade Edit
- Editor/Partner Jeff Ferruzzo
- Executive Producer/Partner Sila Soyer
- Senior Post Producer Andrew Cravotta
- Assistant Editor Sam Barden
- VFX The Mill/New York
- Executive Producer Clairellen Wallin
- Colorist Tom Poole
- Color Producer Alexandra Lubrano
- Music Search Company Walker
- Executive Producer Sara Matarazzo
- Executive Producer Stephanie Pigott
- Music Producer Danielle Soury
- Sound Design Company Trinitite Studios
- Sound Designer Brian Emrich
- Audio Mixer Brian Goodheart
- Line Producer Zoe Odlum
- Line Producer Kristin Porter
- Art Director Aimee Perrin
- Chief Creative Officer Karl Lieberman
- Copywriter Stu Rubin
- Executive Producer Jessica Griffeth
- Group Creative Director Gerard Caputo
- HP Nick Setounski
- Senior Producer Samuel Kilbreth
Brands that acknowledged and built on the events of 2020 also strategically resonated, highlighting how life had changed in a way that means fun is now the elephant in the room. Bud Light's Seltzer Ad Last Year's Lemons smartly pivoted from life giving you lemons to a product benefit, standing out from a range of seltzer ads by mixing the surreal with the culturally relevant.
Bud Light's Seltzer Ad Last Year's Lemons smartly pivoted from life giving you lemons to a product benefit.
Our own campaign for Scott's Miracle Gro tapped into increased interest in lawns during lockdown, the growth of TikTok as a talking point and even snuck in a Peloton instructor – holding up a mirror and making a joke at the same time.
Credits
powered by- Agency Highdive Advertising/Chicago
- Production Company MJZ/USA
- Director Craig Gillespie
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Unlock full credits and more with a Source + shots membership.
Credits
powered by- Agency Highdive Advertising/Chicago
- Production Company MJZ/USA
- Director Craig Gillespie
- President/Executive Producer David Zander
- Executive Producer Emma Wilcockson
- Editing Cutters
- Editor Tim LoDolce
- Editor Grant Gustafson
- Editor Aaron Kiser
- Head of Production Patrick Casey
- Assistant Editor Emily Tolan
- VFX MPC/Los Angeles
- Executive Producer Elexis Stearn
- VFX Supervisor Michael Gregory
- Colorist Mark Gethin
- VFX MPC/New York
- Producer Chris Preston-Barnes
- VFX Framestore/Chicago
- Executive Creative Director Murray Butler
- Executive Producer Larissa Berringer
- Audio Post Another Country
- Sound Designer/Audio Mixer Peter Erazmus
- Executive Producer Tim Konn
- Assistant Audio Mixer Josh Hunnicutt
- Producer Louise Rider
- Music South Music & Sound Design
- Creative Director Dan Pritikin
- Creative Director Matt Drenik
- Composer Jon Darling
- Executive Producer/General Manager Ann Haugen
- Producer Ignacio Zas
- Talent Tracy Morgan
- Talent Dave Bautista
- Talent Liza Koshy
- Producer Martha Davis
- DP Hoyte van Hoytema
- Production Designer Jamie Vickers
- Composer Rusty Logsdon
- Chief Creative Officer Chad Broude
- Chief Creative Officer Mark Gross
- Creative Director/Art Director Chris Carraway
- Creative Director/Copywriter Jeb Quaid
- Group Creative Director/Copywriter Patrick Burke
- HP Jen Passaniti
- Senior Producer Marianne Newton
Credits
powered by- Agency Highdive Advertising/Chicago
- Production Company MJZ/USA
- Director Craig Gillespie
- President/Executive Producer David Zander
- Executive Producer Emma Wilcockson
- Editing Cutters
- Editor Tim LoDolce
- Editor Grant Gustafson
- Editor Aaron Kiser
- Head of Production Patrick Casey
- Assistant Editor Emily Tolan
- VFX MPC/Los Angeles
- Executive Producer Elexis Stearn
- VFX Supervisor Michael Gregory
- Colorist Mark Gethin
- VFX MPC/New York
- Producer Chris Preston-Barnes
- VFX Framestore/Chicago
- Executive Creative Director Murray Butler
- Executive Producer Larissa Berringer
- Audio Post Another Country
- Sound Designer/Audio Mixer Peter Erazmus
- Executive Producer Tim Konn
- Assistant Audio Mixer Josh Hunnicutt
- Producer Louise Rider
- Music South Music & Sound Design
- Creative Director Dan Pritikin
- Creative Director Matt Drenik
- Composer Jon Darling
- Executive Producer/General Manager Ann Haugen
- Producer Ignacio Zas
- Talent Tracy Morgan
- Talent Dave Bautista
- Talent Liza Koshy
- Producer Martha Davis
- DP Hoyte van Hoytema
- Production Designer Jamie Vickers
- Composer Rusty Logsdon
- Chief Creative Officer Chad Broude
- Chief Creative Officer Mark Gross
- Creative Director/Art Director Chris Carraway
- Creative Director/Copywriter Jeb Quaid
- Group Creative Director/Copywriter Patrick Burke
- HP Jen Passaniti
- Senior Producer Marianne Newton
Finally, despite all the changes in this unusual year, the formula of a smart insight, a celebrity and over the top comedy still won when done perfectly. Rocket Mortgage's Certain is Better is one of my favourites, taking a clear brief to reframe the certainty that Rocket Mortgage can give buyers and wrapping it in a concept and delivery that makes it matter more.
Not many ads with the traditional Super Bowl formula stood out as much for me this year – but this hit a moving target.