Timing is everything; to release or not to release?
In advertising, like in life, timing can be everything. While previous thinking told us pre-releasing a new Super Bowl campaign was a creative no-no, that's not necessarily the case anymore. Kerry O'Connor, Group Strategy Director at McKinney, looks at why.
If you had told me six years ago, when I did my first Super Bowl spot, that we should release our spot early, every ounce of creative integrity would have left my body. This year, I pushed for it.
For many years, the name of the game has been to release only teasers.
For many years, the name of the game has been to release only teasers, dangling celebrity talent, and encouraging you to tune in for the big game where all will be revealed. More recently, some of the 'big winners' of the night didn’t shield their ad in secrecy, but released it early.
Credits
powered by- Agency Highdive Advertising/Chicago
- Production Company O Positive
- Director Jim Jenkins
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Credits
powered by- Agency Highdive Advertising/Chicago
- Production Company O Positive
- Director Jim Jenkins
- Executive Producer/Producer Marc Grill
- Executive Producer Ralph Laucella
- Editing Cutters/USA
- Executive Post Producer Heather Richardson
- Head of Post Production Patrick Casey / (Head of Production)
- Editor Tim LoDolce
- Assistant Editor Jack Taylor
- Assistant Editor Jackie Cohen
- Color Rare Medium
- Color Managing Director/Color Executive Producer Heath Raymond
- Colorist Fergus McCall
- VFX Parliament VFX
- Head of VFX Production Katherine Maidment
- VFX Producer Brett Grisham
- VFX Supervisor Nathan Kane
- VFX Creative Lead Philip Ineno
- VFX Creative Lead Brandon Thomas
- Motion Design/Graphics Sarofsky
- Graphics Managing Director Erin Sarofsky
- Executive Graphics Producer Steven Anderson
- Graphics Producer Kelsey Hynes
- Graphics Creative Director Stefan Draht
- Music Butter Music & Sound
- Music Chief Creative Officer Andrew Sherman
- Executive Music Producer Renee Masse
- Music Executive Creative Director Dan Zank
- Music Producer Warren Wolfe
- Composer Nat Jenkins
- Sound Another Country
- Audio Managing Director Tim Konn
- Executive Audio Producer Louise Rider
- Sound Designer/Audio Mixer Peter Erazmus
- Audio Producer Josh Hunnicutt
- Assistant Audio Mixer Brett Rossiter
- Senior Producer Joshua Zilm
- Talent Arnold Schwarzenegger
- CEO/Co-Founder Megan Lally
- Senior Producer David Burke
- Chief Creative Officer/Co-Founder Chad Broude
- Creative Director Charlie Rogucki
- Chief Creative Officer/Co-Founder Mark Gross
- DP Claudio Miranda
- Executive Creative Director Pat Burke
- Production Designer Jason Edmonds
- Executive Creative Director Chuck Rachford
- Group Creative Director Brian Culp
- Group Creative Director Katie Bero
- Creative Director Ben Doessel
- Creative Director James Lee
- Creative Director Andrew Lincoln
- HP Jen Passaniti
- Executive Producer Adam Battista
- Executive Producer Will St Clair
- Executive Producer Luke LiManni
- Producer Chris Totzke
- Producer Steph Cotherman
- Producer Austin Neely
- VFX Producer Drew Beck
- Producer Alfredo Rivera
- Art Director Sydney Cohen
- Copywriter Jordan Fishel
- Junior Art Director Kyle Brubaker
- Junior Copywriter Emmett Sullivan
- Talent Danny DeVito
![](https://d17mj1ha1c2g57.cloudfront.net/v1/g9-UIIUXF3cTDKIqbB05-9Z6EJU/1024x576%23/80/shotsmag/production/clips/1707997963/263ccf44-c349-4025-a6a2-b508d38cd676.jpg?v=1&quality=80&format=jpeg)
Credits
powered by- Agency Highdive Advertising/Chicago
- Production Company O Positive
- Director Jim Jenkins
- Executive Producer/Producer Marc Grill
- Executive Producer Ralph Laucella
- Editing Cutters/USA
- Executive Post Producer Heather Richardson
- Head of Post Production Patrick Casey / (Head of Production)
- Editor Tim LoDolce
- Assistant Editor Jack Taylor
- Assistant Editor Jackie Cohen
- Color Rare Medium
- Color Managing Director/Color Executive Producer Heath Raymond
- Colorist Fergus McCall
- VFX Parliament VFX
- Head of VFX Production Katherine Maidment
- VFX Producer Brett Grisham
- VFX Supervisor Nathan Kane
- VFX Creative Lead Philip Ineno
- VFX Creative Lead Brandon Thomas
- Motion Design/Graphics Sarofsky
- Graphics Managing Director Erin Sarofsky
- Executive Graphics Producer Steven Anderson
- Graphics Producer Kelsey Hynes
- Graphics Creative Director Stefan Draht
- Music Butter Music & Sound
- Music Chief Creative Officer Andrew Sherman
- Executive Music Producer Renee Masse
- Music Executive Creative Director Dan Zank
- Music Producer Warren Wolfe
- Composer Nat Jenkins
- Sound Another Country
- Audio Managing Director Tim Konn
- Executive Audio Producer Louise Rider
- Sound Designer/Audio Mixer Peter Erazmus
- Audio Producer Josh Hunnicutt
- Assistant Audio Mixer Brett Rossiter
- Senior Producer Joshua Zilm
- Talent Arnold Schwarzenegger
- CEO/Co-Founder Megan Lally
- Senior Producer David Burke
- Chief Creative Officer/Co-Founder Chad Broude
- Creative Director Charlie Rogucki
- Chief Creative Officer/Co-Founder Mark Gross
- DP Claudio Miranda
- Executive Creative Director Pat Burke
- Production Designer Jason Edmonds
- Executive Creative Director Chuck Rachford
- Group Creative Director Brian Culp
- Group Creative Director Katie Bero
- Creative Director Ben Doessel
- Creative Director James Lee
- Creative Director Andrew Lincoln
- HP Jen Passaniti
- Executive Producer Adam Battista
- Executive Producer Will St Clair
- Executive Producer Luke LiManni
- Producer Chris Totzke
- Producer Steph Cotherman
- Producer Austin Neely
- VFX Producer Drew Beck
- Producer Alfredo Rivera
- Art Director Sydney Cohen
- Copywriter Jordan Fishel
- Junior Art Director Kyle Brubaker
- Junior Copywriter Emmett Sullivan
- Talent Danny DeVito
Above: State Farm's 2024 Super Bowl campaign benefited from an early release strategy.
Take State Farm. They were a standout in 2024 with their Like a Good Neighbaaaa Arnold Schwarzenegger spot. Not only did they win AdMeter (aka the people’s choice), but I’m willing to bet it KILLED with your mom, and even industry people seemed to like it (it was an “honourable mention” on AdAge). Yet, they didn’t veil their ad in secrecy, they released it on The Tonight Show in the week leading up to the Super Bowl.
So, what’s the magic of releasing early? There are a few big benefits:
The first is memorability. Did you know it takes seven times for a message to stick with someone? It’s brain science! So, if you can secure an awesome PR moment – and there are so many great media moments leading into the Super Bowl, from talk shows to the Grammys to the Pro Bowl – you’re giving your spot a better chance of being remembered. That means when people are voting that night on AdMeter, or shooting the shit on Zoom, waiting for stragglers to join, your commercial will have a better chance of being remembered.
So, what’s the magic of releasing early? There are a few big benefits.
The second is by releasing it early, you’re talking to the influencers of the Super Bowl commercial discussion. Hundreds of stories run in the trades surrounding Game Day, with creatives and strategists weighing in on what they like and the trends they are seeing. It doesn’t hurt to have influential industry experts praising your spot.
Credits
powered byUnlock full credits and more with a Source + shots membership.
Credits
powered by- Agency Accenture Interactive/New York
- Post Production/Graphics The Mill/New York
- Music Supervision/Mix Walker
- Chief Creative Officer Neil Heymann
- Creative Director Jason Kreher
- Executive Producer Leah Donnenberg
![](https://d17mj1ha1c2g57.cloudfront.net/v1/gnCZ4PD6cnadG1Py-5BfqJXKlcw/1024x576%23/80/shotsmag/production/clips/3d3317ce-68a1-4d95-9c58-5459acf906bb/1738845997169.jpg?v=1&quality=80&format=jpeg)
Credits
powered by- Agency Accenture Interactive/New York
- Post Production/Graphics The Mill/New York
- Music Supervision/Mix Walker
- Chief Creative Officer Neil Heymann
- Creative Director Jason Kreher
- Executive Producer Leah Donnenberg
Above: Some Super Bowl spots wouldn't benefit from an early release, such as Coinbase's QR Code spot.
Then there are the everyday influencers, aka the people who are at the Super Bowl party “for the ads” (no judgement – I’m mostly there “for the buffalo dip”). If they love your spot, they’ll tell their friends to watch out for it, and shush the room when your spot comes on. Do you know how hard it is to shush a Super Bowl party? At McKinney we talk a lot about creating unfair attention for our brands, but it’s hard work! Especially on the night of the Super Bowl. So, these 'shushers' are worth their weight in gold.
When you release your spot early, your brand and story get a singular moment in the sun.
Lastly, when you release your spot early, your brand and story get a singular moment in the sun. A moment where people can watch your spot and laugh/cry/gasp/appreciate. After the Super Bowl, much of the discussion is just ranking and comparing them to each other, and the message of the spot itself is buried in how it was received or where it ranked.
There will always be instances where it makes sense to keep the element of surprise alive. No way the Coinbase bouncing QR code of 2022 [above] could have been released early. Or Tubi’s Interface Interaction in 2023 [below] that tricked us all into thinking we had sat on the remote. Both of those (in my opinion, ingeniously) took advantage of being in-the-moment and making us stop in our tracks. But that’s not the only path to success. And if you’re taking a different path, these days it makes sense to release early
Credits
powered by- Agency Mischief/Brooklyn
- Production Company Strike Anywhere
- Director Pete Marquis
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-
Unlock full credits and more with a Source + shots membership.
Credits
powered by- Agency Mischief/Brooklyn
- Production Company Strike Anywhere
- Director Pete Marquis
- Executive Producer Victoria Guenier
- Editing Friend or Foe
- Editor JP Damboragian
- Senior Producer Adam Zeitlen
- Graphics/Finishing Emily McDevitt
- Executive Creative Director Kevin Robinson
- Executive Producer Bryce Edwards
- Sound Design/Mix Decibel Sound
- Sound Designer/Audio Mixer Patrick Navarre
- Executive Producer Alicia Rodgers
- Colorist Tim Masick
- Chief Creative Officer Greg Hahn
- Executive Creative Director Bianca Guimaraes
- Executive Creative Director Kevin Mulroy
- Senior Copywriter Vanessa de Beaumont
- Senior Art Director Joao Viegas
- HP Will Dempster
- Executive Producer Amy Wertheimer
- DP Julia Swain
- Producer Adam Lawson
![](https://d17mj1ha1c2g57.cloudfront.net/v1/QEuEhOYqckyuYrBlCSPSd_3KN9U/1024x576%23/80/shotsmag/production/clips/85da2258-19c1-4784-a858-fed95da141ab/1686780963299.jpg?v=1&quality=80&format=jpeg)
Credits
powered by- Agency Mischief/Brooklyn
- Production Company Strike Anywhere
- Director Pete Marquis
- Executive Producer Victoria Guenier
- Editing Friend or Foe
- Editor JP Damboragian
- Senior Producer Adam Zeitlen
- Graphics/Finishing Emily McDevitt
- Executive Creative Director Kevin Robinson
- Executive Producer Bryce Edwards
- Sound Design/Mix Decibel Sound
- Sound Designer/Audio Mixer Patrick Navarre
- Executive Producer Alicia Rodgers
- Colorist Tim Masick
- Chief Creative Officer Greg Hahn
- Executive Creative Director Bianca Guimaraes
- Executive Creative Director Kevin Mulroy
- Senior Copywriter Vanessa de Beaumont
- Senior Art Director Joao Viegas
- HP Will Dempster
- Executive Producer Amy Wertheimer
- DP Julia Swain
- Producer Adam Lawson
Above: Another example of a Super Bowl spot that could only work 'on the day'.
If you decide to release your spot early, here are three things to keep in mind:
1. Tease away
You may think releasing your spot early shuts down your opportunity to tease your spot. Incorrect! The window to tease starts early, we’re talking December early in some cases, which gives you a lot of time to tease what’s coming.
Just because you release early, doesn’t mean you can’t have an element of surprise during the Game Day debut.
More than that, 75% of people still wait to see the ads day-of, according to Forbes. Given the majority of people won’t see your spot beforehand, you can still put out fun content that gets them to tune in.
2. A lil’ something for everyone
Let’s say you release your spot a week or two early. That opens up a window where you want to consider both people who haven’t seen your spot (majority of people) as well as people who have. One way to approach this is to think about content that’s fun for people who haven’t seen your spot yet and even more fun if they’ve already seen the spot.
3. Hold something back
Just because you release early, doesn’t mean you can’t have an element of surprise during the Game Day debut. Going back to the State Farm example, while they released the ad early, they held back a couple seconds at the end where Danny DeVito shows up. A nice little callback to Twins, and a little surprise and delight even for those who had seen the spot. Creative integrity intact!