The Four Cs of Consistency: The Super Bowl Playbook
The Super Bowl is a rare cultural moment where brands compete for attention, emotion and memorability, all at once. Yet, says Vanessa Chin, SVP Marketing at System1, brands that try something new, losing familiar assets and recognition, can lose out to those that utilise consistency.
The Super Bowl is advertising’s biggest stage yet, too often, the spectacle of the game tempts brands to start again. The result is short-term impact at the expense of long-term growth. Brands may win the night, but lose momentum.
The most effective Super Bowl advertising doesn’t chase the moment. It compounds. Like compound interest, consistent brand cues, characters, and emotional associations build value over time. The magic isn’t in the one-off. It’s in the accumulation.
The brands making the greatest impact, in both the short and long term, are the ones investing in a toolkit that exists well before the Big Game and extends far beyond it.
System1’s Competitive Edge database shows how the most effective Super Bowl advertisers show up over time. Not just in the Big Game itself, but in the consistency of the brand assets they build, reinforce, and compound year after year.
Credits
View on- Agency FCB/New York
- Production Company SMUGGLER/USA
- Director Henry-Alex Rubin
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Credits
View on- Agency FCB/New York
- Production Company SMUGGLER/USA
- Director Henry-Alex Rubin
- Co-Founder Brian Carmody
- Co-Founder Patrick Milling-Smith
- Managing Director Sue Yeon Ahn
- Executive Producer Drew Santarsiero
- Head of Production Alex Hughes
- Editing Work Editorial/USA
- Post Managing Director Erica Thompson
- Executive Post Producer Alejandra Alarcon
- Head of Post Production Chris Delarenal
- Editor Rich Orrick
- Assistant Editor Joseph Tuzzolino
- VFX The Mill/New York
- VFX Managing Director Angela Lupo
- Executive VFX Producer Chris Connolly
- Senior VFX Producer Katherine Miccio
- VFX Executive Creative Director Gavin Wellsman
- VFX Supervisor/2D Lead Renato Carone
- VFX Supervisor/3D Lead Rafael Ghencev
- 3D Lead Alexander Smith
- Color The Mill/Los Angeles
- Executive Color Producer Krista Staudt Friedman
- Color Producer Denise Brown
- Colorist Paul Yacono
- Sound/Music Soundtree Music
- Audio Chief Creative Officer Peter Raeburn
- Senior Audio Producer Neil Athale
- Sound Designer/Audio Mixer Henning Knoepfel
- Sound Designer/Audio Mixer Jack Patterson
- Additional Music Production Luis Almau
- Additional Music Production Luke Fabia
- Additional Music Production John Mourounas
- Chief Creative Officer Michael Aimette
- Global Creative Partner Danilo Boer
- Executive Creative Director Alexandre Abrantes
- Creative Director Lance Vining
- Creative Director Gary Du Toit
- Associate Creative Director Lara Polovina
- Associate Creative Director David Green
- HP Nick Williams
- Executive Producer Daniel Roversi
- Associate Producer Jenna Ramon
- Production Designer Justin Allen
- Costume Designer/Stylist Young-Ah Kim
- DP Rodrigo Prieto
- Post Producer Samara Kelly
- Animation Supervisor David Bryan
- Flame Lead Matt McDonald
- Flame Lead Ben Vaccaro
- Flame Lead Tara Holland
- FX Supervisor Keith Kamholz
- FX Supervisor David Barosin
- FX Lead Rakesh Herurkar
- Song "Let Your Love Flow" Bellamy Brothers
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Credits
powered by- Agency FCB/New York
- Production Company SMUGGLER/USA
- Director Henry-Alex Rubin
- Co-Founder Brian Carmody
- Co-Founder Patrick Milling-Smith
- Managing Director Sue Yeon Ahn
- Executive Producer Drew Santarsiero
- Head of Production Alex Hughes
- Editing Work Editorial/USA
- Post Managing Director Erica Thompson
- Executive Post Producer Alejandra Alarcon
- Head of Post Production Chris Delarenal
- Editor Rich Orrick
- Assistant Editor Joseph Tuzzolino
- VFX The Mill/New York
- VFX Managing Director Angela Lupo
- Executive VFX Producer Chris Connolly
- Senior VFX Producer Katherine Miccio
- VFX Executive Creative Director Gavin Wellsman
- VFX Supervisor/2D Lead Renato Carone
- VFX Supervisor/3D Lead Rafael Ghencev
- 3D Lead Alexander Smith
- Color The Mill/Los Angeles
- Executive Color Producer Krista Staudt Friedman
- Color Producer Denise Brown
- Colorist Paul Yacono
- Sound/Music Soundtree Music
- Audio Chief Creative Officer Peter Raeburn
- Senior Audio Producer Neil Athale
- Sound Designer/Audio Mixer Henning Knoepfel
- Sound Designer/Audio Mixer Jack Patterson
- Additional Music Production Luis Almau
- Additional Music Production Luke Fabia
- Additional Music Production John Mourounas
- Chief Creative Officer Michael Aimette
- Global Creative Partner Danilo Boer
- Executive Creative Director Alexandre Abrantes
- Creative Director Lance Vining
- Creative Director Gary Du Toit
- Associate Creative Director Lara Polovina
- Associate Creative Director David Green
- HP Nick Williams
- Executive Producer Daniel Roversi
- Associate Producer Jenna Ramon
- Production Designer Justin Allen
- Costume Designer/Stylist Young-Ah Kim
- DP Rodrigo Prieto
- Post Producer Samara Kelly
- Animation Supervisor David Bryan
- Flame Lead Matt McDonald
- Flame Lead Ben Vaccaro
- Flame Lead Tara Holland
- FX Supervisor Keith Kamholz
- FX Supervisor David Barosin
- FX Lead Rakesh Herurkar
- Song "Let Your Love Flow" Bellamy Brothers
Above: Budweiser’s nostalgic high-scoring ad for Super Bowl 2025, First Delivery, introduced the brand’s iconic Clydesdale, a popular ‘code’ that trotted into this year’s Big Game campaign.
Sixty percent of the most commercially powerful Super Bowl ads are also the most consistent, earning high levels of brand fluency. These brands aren’t reinventing the wheel for one night only. They’re sticking to a playbook by committing to the Four Cs of consistency: codes, characters, celebrities, and campaign.
Codes
Brand codes are one of the most valuable assets a brand can bring to the Super Bowl, second only to emotion. They ensure that the emotional equity created by the ad is attributed to the brand itself, not to the category, or worse, to a competitor. Yet Super Bowl ads often hold back on brand codes.
In many cases, that’s driven by a desire to build suspense, or to create something cinematic rather than overtly promotional. But this restraint comes at a cost. Delaying or diluting brand codes weakens overall brand fluency.
For a 30-second ad, brands should aim to feature their brand codes at least seven times to maximise memorability.
The most effective ads code within the first two to five seconds, ensuring instant recognition, and significantly strengthen brand fluency, meaning more people remember who the ad was for by the end.
Last year, Super Bowl brand fluency hit an all-time low, dropping to 79 per cent. When the stakes are this high, the audience this vast, and the price tag this extraordinary, can brands really afford to be forgotten by 21 per cent of viewers?
Credits
View on- Agency Wieden + Kennedy/New York
- Production Company Reset
- Director Joseph Kosinski
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Credits
View on- Agency Wieden + Kennedy/New York
- Production Company Reset
- Director Joseph Kosinski
- Managing Director/Owner Dave Morrison / (Managing Director)
- Executive Producer Laura Macauley
- Editing Arcade Edit
- Post Managing Partner/Executive Post Producer Sila Soyer
- Editor Jeff Ferruzzo
- Editor Alison Mao
- Post Production/VFX Blacksmith VFX/New York
- Head of VFX Production Perry Tate
- Color Rare Medium
- Color Managing Director/Founder Heath Raymond
- Colorist Mikey Rossiter
- Audio Post Heard City
- Managing Audio Director/Partner Gloria Pitagorsky
- Audio Producer Nick Duvarney
- Audio Mixer/Partner Mike Vitacco
- Chief Creative Officer Brandon Henderson
- Chief Creative Officer Marques Gartrell
- Creative Director Will Binder
- Creative Director Nik Reed
- Copywriter Zak DeLange
- Art Director Andrew Congleton
- Copywriter Joe Wint
- Art Director Lindsey Evans
- Global Head of Production (HP) Nick Setounski
- Executive Producer Lauren O'Driscoll
- Senior Producer Conner Harville
- Senior Art Producer Alexandra Lianopoulos
- Senior Creative Services Producer Leigh Ann Dykes
- Producer Sami Scholl
- Head of Production Marthinus Lamprecht
- Production Designer Chris Gorak
- DP Hoyte van Hoytema
- Post Producer Anna Butler
- VFX Supervisor Thomas Panayiotou
- Talent Chloe Kim
- Talent TJ Oshie
- Talent Lewis Pullman
- Talent Kurt Russell
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Credits
powered by- Agency Wieden + Kennedy/New York
- Production Company Reset
- Director Joseph Kosinski
- Managing Director/Owner Dave Morrison / (Managing Director)
- Executive Producer Laura Macauley
- Editing Arcade Edit
- Post Managing Partner/Executive Post Producer Sila Soyer
- Editor Jeff Ferruzzo
- Editor Alison Mao
- Post Production/VFX Blacksmith VFX/New York
- Head of VFX Production Perry Tate
- Color Rare Medium
- Color Managing Director/Founder Heath Raymond
- Colorist Mikey Rossiter
- Audio Post Heard City
- Managing Audio Director/Partner Gloria Pitagorsky
- Audio Producer Nick Duvarney
- Audio Mixer/Partner Mike Vitacco
- Chief Creative Officer Brandon Henderson
- Chief Creative Officer Marques Gartrell
- Creative Director Will Binder
- Creative Director Nik Reed
- Copywriter Zak DeLange
- Art Director Andrew Congleton
- Copywriter Joe Wint
- Art Director Lindsey Evans
- Global Head of Production (HP) Nick Setounski
- Executive Producer Lauren O'Driscoll
- Senior Producer Conner Harville
- Senior Art Producer Alexandra Lianopoulos
- Senior Creative Services Producer Leigh Ann Dykes
- Producer Sami Scholl
- Head of Production Marthinus Lamprecht
- Production Designer Chris Gorak
- DP Hoyte van Hoytema
- Post Producer Anna Butler
- VFX Supervisor Thomas Panayiotou
- Talent Chloe Kim
- Talent TJ Oshie
- Talent Lewis Pullman
- Talent Kurt Russell
Above: Michelob’s 2026 Super Bowl ad featured Kurt Russell and Lewis Pullman in a similar light-hearted sports caper to last year’s pickleball themed spot with Willem Dafoe and Catherine O'Hara.
However, simply dropping a logo into the opening frame can hinder engagement as that’s not what effective coding looks like. When brand codes are woven into the narrative through a distinctive jingle, recognisable colours, an iconic tagline, or familiar visual cues, brands can hold on to emotion while strengthening mental availability.
For a 30-second ad, brands should aim to feature their brand codes at least seven times to maximise memorability. If that sounds excessive, or incompatible with emotional storytelling, look no further than Budweiser’s 2025 Super Bowl ad (above). It scored 100 per cent on System1’s brand fluency metric, alongside a 4.1 Star Rating. That places it in the top 25 per cent of all US advertising for emotional impact and long-term brand growth.
Do you want viewers to remember a great ad featuring Ben Affleck, or to think, 'that was a great Dunkin’ ad, with Ben Affleck in it'?
Michelob Ultra is another brand excelling in this area. Their 2026 Super Bowl ad, The Ultra Instructor, is a great example of how to lean into storytelling, while keeping the brand front and centre. The logo appears repeatedly – on the tap handle, bar mat, glassware, cans, and 12-packs – creating instant recognition without interrupting the narrative.
Combined with the brand’s familiar jovial sports setting, these cues make the emotional payoff unmistakably Michelob Ultra, reinforcing long-term brand consistency.
Celebrities
So what often replaces a well-built brand code toolkit? One of the Super Bowl’s favourite creative shortcuts: celebrities. It wouldn’t be the Big Game without them. But they need to be used strategically and with care.
While the short-term impact of celebrity-led ads can be strong, their long-term growth potential is less impressive, especially in a crowded field where multiple brands are competing for the same star power.
Credits
View on- Agency Production Company In-House
- Production Company Artists Equity
- Director Ben Affleck
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Credits
View on- Agency Production Company In-House
- Production Company Artists Equity
- Director Ben Affleck
- Co-President Josh Jefferis
- Director/Executive Creative Director/Co-President Brandon Pierce
- Executive Creative Director Jason Karley
- Group Creative Director Dan Litzow
- Design Creative Director Oscar Bastidas
- Senior Producer Chris Wood
- EVP Production Sean Patrick Kelly
- Talent Ben Affleck
- Talent Jason Alexander / (Talent)
- Talent Ted Danson
- Talent Alfonso Ribeiro
- Talent Jennifer Aniston
- Talent Jasmine Guy
- Talent Matt LeBlanc
- Talent Jaleel White
- Talent Tom Brady
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Credits
powered by- Agency Production Company In-House
- Production Company Artists Equity
- Director Ben Affleck
- Co-President Josh Jefferis
- Director/Executive Creative Director/Co-President Brandon Pierce
- Executive Creative Director Jason Karley
- Group Creative Director Dan Litzow
- Design Creative Director Oscar Bastidas
- Senior Producer Chris Wood
- EVP Production Sean Patrick Kelly
- Talent Ben Affleck
- Talent Jason Alexander / (Talent)
- Talent Ted Danson
- Talent Alfonso Ribeiro
- Talent Jennifer Aniston
- Talent Jasmine Guy
- Talent Matt LeBlanc
- Talent Jaleel White
- Talent Tom Brady
Above: Ben Affleck starred in the hilarious celeb-studded, sitcom-themed Dunkin spot inspired by the film Good Will Hunting. This year's campaign marked Affleck's fourth appearance in the chain's big game ad.
Celebrities
So what often replaces a well-built brand code toolkit? One of the Super Bowl’s favourite creative shortcuts: celebrities. It wouldn’t be the Big Game without them. But they need to be used strategically and with care.
While the short-term impact of celebrity-led ads can be strong, their long-term growth potential is less impressive, especially in a crowded field where multiple brands are competing for the same star power.
Around 60 per cent of Super Bowl ads feature a celebrity, yet ads that rely on them see brand fluency fall by an additional five percentage points.
Celebrities are as unpredictable as they are appealing.
The real question is this: do you want viewers to remember a great ad featuring Ben Affleck, or to think, “that was a great Dunkin’ ad, with Ben Affleck in it”?
Dunkin’ is worth celebrating because it is one of the few brands to use celebrity power both strategically and consistently. By featuring Affleck in its Super Bowl advertising for three previous consecutive years, the brand has built mental availability and emotional equity over time. And this pattern holds more broadly. Brands that repeatedly use the same celebrity see a an uplift in their Star Rating average.
As familiarity builds, audiences begin to associate the celebrity with the brand itself. The creative idea becomes easier to process, cognitive load reduces, and the ad becomes more enjoyable and more memorable. A win-win for emotion and memorability.
Above: Though they are used less, brand mascots or characters tested as more effective than celebrities in System1's survey.
Campaigns
Relying solely on a celebrity is a risky game. As a brand, there is little control over the potential for scandal or negative press. Celebrities are as unpredictable as they are appealing.
One of the strongest examples of a brand mitigating this risk is Uber Eats. Rather than placing all its faith in individual star power, the brand has invested in a strong, repeatable campaign idea. This is what Orlando Wood, Chief Innovation Officer at System1 and ad academic, calls a “fluent device scenario”, where the creative concept stays consistent, even as the cast changes.
[Brand characters] transcend time, channels, and cultural moments.
Uber Eats launched 'Football Is for Food' with Matthew McConaughey and a roster of well-known faces at Super Bowl LIX, then compounded the success of the idea by refreshing it for the NFL season, this time fronted by Bradley Cooper.
Credits
View on- Agency Special Group/Los Angeles
- Production Company Biscuit Filmworks/USA
- Director Steve Rogers
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Credits
View on- Agency Special Group/Los Angeles
- Production Company Biscuit Filmworks/USA
- Director Steve Rogers
- Ad Agency Special Group/Sydney
- Founding Partner Shawn Lacy
- Executive Producer Holly Vega
- Head of Production Sean Moody
- Editing EXILE Edit
- Executive Post Producer Carol Lynn (CL) Kumpata
- Executive Post Producer Jennifer Locke
- Head of Post Production Taylor Rousseau
- Senior Post Producer Lucia Villalta
- Editor Matthew Murphy
- Assistant Editor Melanie Newton
- Assistant Editor Jonathan Rogers
- VFX/Post Production Pariah VFX & Post
- Head of VFX Production Michael Steinmann
- VFX Supervisor/Head of VFX Production Persis Reynolds
- Color Company 3/New York
- Color Producer Nick Krasnic
- Colorist Tom Poole
- Audio Post Eleven Sound
- Audio Partner/Audio Mixer/Sound Designer Jeff Payne
- Audio Producer Sean Kiely
- Audio Mixer Jordan Meltzer
- Music Walker
- Music Director Sara Matarazzo
- Executive Music Producer Dottie Scharr
- Music Supervisor Danielle Soury
- Music Producer Caroline May
- Executive Creative Director Danielle Hawley
- Executive Creative Director Ecole Weinstein
- Chief Creative Officer Dave Horton
- Chief Creative Officer Matthew Woodhams-Roberts
- Executive Creative Director Pat Burke
- Group Creative Director Alice Blastorah
- Group Creative Director Josh Hacohen
- Creative Director Toby Kennedy
- Associate Creative Director Santiago Miculitzki
- Associate Creative Director Tommy Woods
- Creative Robert Cuff
- Creative Reuben Hower
- Creative Nate Able
- Designer Elena Sanchez
- Head of Production Endy Hedman
- Executive Producer Nat Bricker
- Chief Creative Officer Julian Schreiber
- Chief Creative Officer Tom Martin
- Creative Director Will Winter-Irving
- Creative Director Joe Ranallo
- Producer Emily Skinner
- Production Supervisor Jennifer Berry
- Production Designer Shane Valentino
- DP Daniel Landin
- Assistant Editor Quinn Else
- VFX Supervisor Urs Furrer
- Talent Matthew McConaughey
- Talent Bradley Cooper
- Talent Parker Posey
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Credits
powered by- Agency Special Group/Los Angeles
- Production Company Biscuit Filmworks/USA
- Director Steve Rogers
- Ad Agency Special Group/Sydney
- Founding Partner Shawn Lacy
- Executive Producer Holly Vega
- Head of Production Sean Moody
- Editing EXILE Edit
- Executive Post Producer Carol Lynn (CL) Kumpata
- Executive Post Producer Jennifer Locke
- Head of Post Production Taylor Rousseau
- Senior Post Producer Lucia Villalta
- Editor Matthew Murphy
- Assistant Editor Melanie Newton
- Assistant Editor Jonathan Rogers
- VFX/Post Production Pariah VFX & Post
- Head of VFX Production Michael Steinmann
- VFX Supervisor/Head of VFX Production Persis Reynolds
- Color Company 3/New York
- Color Producer Nick Krasnic
- Colorist Tom Poole
- Audio Post Eleven Sound
- Audio Partner/Audio Mixer/Sound Designer Jeff Payne
- Audio Producer Sean Kiely
- Audio Mixer Jordan Meltzer
- Music Walker
- Music Director Sara Matarazzo
- Executive Music Producer Dottie Scharr
- Music Supervisor Danielle Soury
- Music Producer Caroline May
- Executive Creative Director Danielle Hawley
- Executive Creative Director Ecole Weinstein
- Chief Creative Officer Dave Horton
- Chief Creative Officer Matthew Woodhams-Roberts
- Executive Creative Director Pat Burke
- Group Creative Director Alice Blastorah
- Group Creative Director Josh Hacohen
- Creative Director Toby Kennedy
- Associate Creative Director Santiago Miculitzki
- Associate Creative Director Tommy Woods
- Creative Robert Cuff
- Creative Reuben Hower
- Creative Nate Able
- Designer Elena Sanchez
- Head of Production Endy Hedman
- Executive Producer Nat Bricker
- Chief Creative Officer Julian Schreiber
- Chief Creative Officer Tom Martin
- Creative Director Will Winter-Irving
- Creative Director Joe Ranallo
- Producer Emily Skinner
- Production Supervisor Jennifer Berry
- Production Designer Shane Valentino
- DP Daniel Landin
- Assistant Editor Quinn Else
- VFX Supervisor Urs Furrer
- Talent Matthew McConaughey
- Talent Bradley Cooper
- Talent Parker Posey
Above: Matthew McConaughey was joined by Bradley Cooper in this year’s Uber Eats Big Game ad adding to the success of 2025’s 'Football is for Food' platform.
Because audiences are already familiar with the idea, it matters less who plays the leading role. The campaign can be reused, reshaped, and refreshed with just enough novelty, while retaining its core identity. The result is sustained emotional equity and growing mental availability, without the downside risk of over-reliance on a single celebrity.
Characters
Unlike celebrities, brand characters such as the Budweiser Clydesdales or the M&M’s spokescandies appear in just 14 per cent of Super Bowl ads. Yet their impact far outweighs their presence.
Brand characters are nearly twice as likely to deliver high brand fluency compared to celebrities, and are second only to sonic devices, like a repeated soundtrack. Their real strength lies in their longevity. Characters transcend time, channels, and cultural moments. They can live in everyday advertising and step seamlessly into the Super Bowl spotlight. And crucially, they are brand owned.
There’s no competition for star power and no risk of misplaced credit. All the emotional equity they generate belongs to the brand. And the final payoff? Stronger emotional engagement, which is predictive of stronger long-term brand growth.
The takeaway is simple. The Super Bowl isn’t a reset button. Stay true to your brand, play the long game, and choose consistency over novelty.