Rising above the big game 'beige tax'
'Blah' advertising that fails to connect with audiences, especially during the Super Bowl, is criminal, says Liz Grabek, SVP Consumer Strategy at Betty, a Quad agency. So, don't be a victim of the 'beige tax' and, instead, pay your audience the respect they deserve.
In advertising, there is a hefty price to pay for mediocrity, and that price is $189 billion dollars.
This 'beige tax' – the amount wasted on 'blah' advertising that fails to connect with audiences – is even more egregious when you consider that the cost of a national Super Bowl spot can now top $8 million for 30 seconds.
47% of the ads that consumers encounter inspire them to “feel nothing, do nothing”.
US advertisers are expected to have spent almost $390 billion by the end of 2024, according to eMarketer, but 47% of the ads that consumers encounter inspire them to “feel nothing, do nothing,” according to a report from System1 Group.
To avoid the beige tax, an especially important consideration for high-stakes Big Game spots, here are three ways to create authentic, emotional ads that linger in viewers’ minds long after the final touchdown (or missed field goal):
Credits
powered by- Agency Saatchi & Saatchi/New York
- Production Company Biscuit Filmworks/USA
- Director Jeff Low
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Unlock full credits and more with a Source + shots membership.
Credits
powered by- Agency Saatchi & Saatchi/New York
- Production Company Biscuit Filmworks/USA
- Director Jeff Low
- Ad Agency Woven Collaborative/New York
- Chief Creative Officer Daniel Lobaton
- Chief Creative Officer Paul Bichler
- Managing Director Shawn Lacy
- Executive Producer Holly Vega
- Head of Production Sean Moody
- Editing Arcade Edit
- Editor Geoff Hounsell
- Executive Producer/Partner Sila Soyer
- Post Producer Fanny Cruz
- VFX The Mill/Los Angeles
- Executive Producer Anastasia von Rahl
- Executive Creative Director Chris Knight
- 3D Lead Artist Graeme Turnbull
- Audio Mixer/Partner Philip Loeb
- Colorist Tom Poole
- Creative Director Lauren Varvara
- Creative Director Adrian Chan
- Head of Production Fabric Care Dani Stoller
- Producer Jay Veal
- DP Jonathan Freeman / (DP)
- Production Designer Joe Cooney
- Assistant Editor Max Hoffmann
- Creative Director Becky Porter
- Talent Jason Alexander / (Talent)
![](https://d17mj1ha1c2g57.cloudfront.net/v1/EM249JylC9UAW2EE4vqK7ckrrnk/1024x576%23/80/shotsmag/production/clips/f879c2fe-d2aa-42c0-aeb7-4e4daa2d3052/1738862529354.jpg?v=1&quality=80&format=jpeg)
Credits
powered by- Agency Saatchi & Saatchi/New York
- Production Company Biscuit Filmworks/USA
- Director Jeff Low
- Ad Agency Woven Collaborative/New York
- Chief Creative Officer Daniel Lobaton
- Chief Creative Officer Paul Bichler
- Managing Director Shawn Lacy
- Executive Producer Holly Vega
- Head of Production Sean Moody
- Editing Arcade Edit
- Editor Geoff Hounsell
- Executive Producer/Partner Sila Soyer
- Post Producer Fanny Cruz
- VFX The Mill/Los Angeles
- Executive Producer Anastasia von Rahl
- Executive Creative Director Chris Knight
- 3D Lead Artist Graeme Turnbull
- Audio Mixer/Partner Philip Loeb
- Colorist Tom Poole
- Creative Director Lauren Varvara
- Creative Director Adrian Chan
- Head of Production Fabric Care Dani Stoller
- Producer Jay Veal
- DP Jonathan Freeman / (DP)
- Production Designer Joe Cooney
- Assistant Editor Max Hoffmann
- Creative Director Becky Porter
- Talent Jason Alexander / (Talent)
Above: Recent Super Bowl spots have become more playful, like Tide's Jason Alexander-starring campaign.
Embrace emotion (not just the tear-jerking kind)
Creating emotion with advertising doesn’t just mean bringing your viewers to tears. Duolingo was able to spark emotion with Gen Z-ers in a comedically unique and unexpected way by tapping into the audience’s culture with playful content on the social platforms where they spend time.
Creating emotion with advertising doesn’t just mean bringing your viewers to tears.
Big Game ads have always tapped into humour but, in recent years, they’ve gotten even more playful, featuring unexpected mashups and nostalgia to surprise, while connecting to shared memories; think the Jason Alexander hoodie from Tide [above]. They know that on a stage this big, the ads that elicit an emotional response will stay in consumers’ minds post-game.
![](https://d17mj1ha1c2g57.cloudfront.net/v1/M13KPdI7l-SP9iiqRBJ8rRGvNfk/1280x/80/shotsmag/production/clips/5c24ab9a-adc8-4b8f-924b-4bb408ac8d05/gettyimages-1088198404.jpg?v=1&quality=70&format=jpeg)
Above: Brands need to be flexible, as well as authentic, to hit the target.
Be authentic, but flex and evolve
The way we show up to work is often different from how we show up at home, or out with friends, but that doesn’t change who we are. You can show up differently in different places and still be authentically yourself.
The real question brands should be asking themselves is how they can creatively connect with people in a way that still feels true to who they are.
Brands need to take a page from people. When marketers get too rigid with how the brand shows up, they miss an opportunity to flex its personality for different spaces and places. The real question brands should be asking themselves is how they can creatively connect with people in a way that still feels true to who they are.
Younger generations place sky-high value on authenticity. Breakthrough Research’s Brand Authenticity Report 2023 found that how consumers feel about a brand influences how much they spend. So, be yourself, pick a stage that works for your brand and your audience, and flex your brand personality accordingly.
Credits
powered by- Agency Ogilvy/New York
- Production Company PRETTYBIRD
- Director Tim & Eric
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Unlock full credits and more with a Source + shots membership.
Credits
powered by- Agency Ogilvy/New York
- Production Company PRETTYBIRD
- Director Tim & Eric
- Executive Producer Suzanne Hargrove
- Editing Mackcut
- Executive Post Producer Gina Pagano
- Senior Post Producer Kayla Robinson/(Post Producer)
- Editor Ian Mackenzie
- Assistant Editor Zach Gentry
- Color Producer Adam Vevang
- Colorist Mikey Pehanich
- Assistant Colorist Sam Howells
- VFX/Color Blacksmith VFX/New York
- Executive VFX Producer/Partner Charlotte Arnold
- Head of VFX Production Perry Tate
- VFX Supervisor/2D Lead Robert Bruce
- VFX Supervisor/3D Lead Ben Elliot
- Lead CG Artist Kushal Das
- Sound Heard City
- Head of Sound Production Jackie James
- Sound Producer Liana Rosenberg
- Sound Designer/Audio Mixer Mike Vitacco
- Music Supervision Leland Music
- Music Supervisor Toby Williams
- Chief Creative Officer North America Chris Beresford-Hill
- Managing Director Tina Galley
- Creative Director Alexander Holm
- Creative Director Avi Steinbach
- Group Executive Producer Marisa Bursteen
- Senior Producer Regan Wallace
- HP Jessica Nugent
- Line Producer Dennis Beier
- Assistant Colorist Matt Gehl
- VFX Producer Sophie Mitchell
- Composer Jordan Crisp
- Talent Michael Cera
![](https://d17mj1ha1c2g57.cloudfront.net/v1/uoAQdZYmCAN6QH0nPgxjCkWik8g/1024x576%23/80/shotsmag/production/clips/4f04a021-1277-4070-8eb4-b62a78570c83/1718984279977.jpg?v=1&quality=80&format=jpeg)
Credits
powered by- Agency Ogilvy/New York
- Production Company PRETTYBIRD
- Director Tim & Eric
- Executive Producer Suzanne Hargrove
- Editing Mackcut
- Executive Post Producer Gina Pagano
- Senior Post Producer Kayla Robinson/(Post Producer)
- Editor Ian Mackenzie
- Assistant Editor Zach Gentry
- Color Producer Adam Vevang
- Colorist Mikey Pehanich
- Assistant Colorist Sam Howells
- VFX/Color Blacksmith VFX/New York
- Executive VFX Producer/Partner Charlotte Arnold
- Head of VFX Production Perry Tate
- VFX Supervisor/2D Lead Robert Bruce
- VFX Supervisor/3D Lead Ben Elliot
- Lead CG Artist Kushal Das
- Sound Heard City
- Head of Sound Production Jackie James
- Sound Producer Liana Rosenberg
- Sound Designer/Audio Mixer Mike Vitacco
- Music Supervision Leland Music
- Music Supervisor Toby Williams
- Chief Creative Officer North America Chris Beresford-Hill
- Managing Director Tina Galley
- Creative Director Alexander Holm
- Creative Director Avi Steinbach
- Group Executive Producer Marisa Bursteen
- Senior Producer Regan Wallace
- HP Jessica Nugent
- Line Producer Dennis Beier
- Assistant Colorist Matt Gehl
- VFX Producer Sophie Mitchell
- Composer Jordan Crisp
- Talent Michael Cera
Above: Celebrity appearances aren't enough on their own, there needs to be a clever or unconventional approach, like last year's CereVe campaign.
Stay on the pulse
While it's more important than ever to create advertising that elicits emotion, it’s also harder. In the age of doom scrolling, creating work that feels unexpected and breakthrough requires an even deeper understanding of people and audiences, both existing and new.
We all know it’s important to understand subcultures. They fuel rapid changes in consumer tastes, so it’s critical to do your research. Everyone has their corner of the internet that they feel passionate about. Find the corners where your brand authentically belongs and immerse yourself in them. Do your research and pay attention to the type of content fans are loving and sharing. You want your content to be something people feel compelled to pass along.
With so much access to celebrities through social platforms, star power alone is not enough.
For example, consumers are used to brands employing the biggest stars for the Big Game. But, with so much access to celebrities through social platforms, star power alone is not enough. Perhaps surprisingly, the ads that resonate most with consumers are the ones that feel unconventional, and maybe even uncomfortable. Remember the Michael Cera x CeraVe ad [above]? The success of this ad during last year’s game goes to show that consumers are now trained to crave the unexpected.
Celebrity ads can work, but they have to be clever. The best way to tap into celeb potential is by listening carefully to find the sweet spot for how it fits into culture.
![](https://d17mj1ha1c2g57.cloudfront.net/v1/iYz-a2tg_hAA8pWA3kg80NVyg-4/1280x/80/shotsmag/production/clips/a94e6594-ada5-4d94-97c5-945d0d955cdb/gettyimages-920555100.jpg?v=1&quality=70&format=jpeg)
Above: The best Big Game spots break through the noise, find a seat on your couch, grab a drink, stay for a while.
Read the room
At its best, advertising does a great job of understanding and reflecting back what people want to see, feel and hear in a given moment. When the Big Game is over, we will reflect and ask: “Did the ads read the room accurately?”
Avoiding the beige tax is all about finding the perfect mix of message, characters, script and audience.
Avoiding the beige tax is all about finding the perfect mix of message, characters, script and audience. The best Big Game spots break through the noise, find a seat on your couch, grab a drink, stay for a while, and authentically feel like part of the crew.
Don’t be the person who brings kale chips and kombucha to the party. Give the people what they want!