Why nostalgia is winning hearts and minds
The Super Bowl recently provided evidence that looking back could well be the future for advertising. Emily Harlock, Chief Strategy Officer and Partner at Special Group UK, looks at how pulling at the threads of nostalgia has proved a successful approach for many brands.
Is it illogical that in a hyper-digital era, nostalgia keeps trending? Probably not, because when times are tough, people take solace in the familiar.
We wrap ourselves up in a comfort blanket of what we know and love. Or obsess about decades that seemed simpler, even if we were too young to have actually lived through them.
When times are tough, people take solace in the familiar.
For a sign of these contradictory times, let’s look to the recent Super Bowl. Alongside the sport, over 100 million eyeballs tuned-in for the much-loved spots this year and star-studded A-list cameos, tightly-tuned scripts and light humour were served up with hefty, school dinner-sized portions of nostalgia.
Brands took consumers back to relive seminal movies and TV shows, from John Travolta recreating the iconic Summer Lovin' scene from Grease for T-Mobile, to Alicia Silverstone returning to the role of Cher in Clueless for online shopping site Rakuten, and Breaking Bad stars Aaron Paul and Bryan Cranston hitting the desert once again in Frito-Lay’s Pop Corners spot.
Credits
powered by- Agency D3 (In-House at Pepsi)
- Production Company Interrogate
- Director Vince Gilligan
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Unlock full credits and more with a Source + shots membership.
Credits
powered by- Agency D3 (In-House at Pepsi)
- Production Company Interrogate
- Director Vince Gilligan
- Executive Producer George Meeker
- Edit Company The Den Editorial
- Editor Christjan Jordan
- Assistant Editor Pieter Viljoen
- Executive Producer Jennifer Mersis
- VFX Company The Mill/Los Angeles
- Managing Director Anastasia von Rahl
- 3D Lead Artist Cinzia Pegorin
- Senior Producer Heather Johann
- Colorist Paul Yacono
- Executive Color Producer Krista Friedman
- Color Producer Denise Brown
- Audio Post JSM Music
- Chief Creative Officer Joel Simon
- Executive Music Producer Jeff Fiorello
- Senior Music Producer Norm Felker
- Senior Music Producer Andrew Manning
- Audio Producer Sharon Cha
- Sound Designer Seamus Kilmartin
- Talent Raymond Cruz
- DP Paul Donachie
- Production Designer Denise Pizzini
- Line Producer Julien Lemaitre
- Juinior Editor Jake Swartz
- Assistant Editor Laurence Thrush
- HP Kristina Thoegersen
- Producer Gigi May
- Creative Director Matthew Fuller
- VFX Supervisor Sarah Marikar
- Senior Producer Graham Dunglinson
- Copywriter Joanna Stubbins
- Managing Director Jeffrey Miller
- Producer Dan Watson
- Talent Bryan Cranston
- Talent Aaron Paul
- Art Director Sara Cusumano
- Associate Creative Director Sadie Caparelli
- Creative Director Chris Bellinger
- Creative Director Matt Schaffer
- Senior Associate Creative Director Katheryn Renfroe
Credits
powered by- Agency D3 (In-House at Pepsi)
- Production Company Interrogate
- Director Vince Gilligan
- Executive Producer George Meeker
- Edit Company The Den Editorial
- Editor Christjan Jordan
- Assistant Editor Pieter Viljoen
- Executive Producer Jennifer Mersis
- VFX Company The Mill/Los Angeles
- Managing Director Anastasia von Rahl
- 3D Lead Artist Cinzia Pegorin
- Senior Producer Heather Johann
- Colorist Paul Yacono
- Executive Color Producer Krista Friedman
- Color Producer Denise Brown
- Audio Post JSM Music
- Chief Creative Officer Joel Simon
- Executive Music Producer Jeff Fiorello
- Senior Music Producer Norm Felker
- Senior Music Producer Andrew Manning
- Audio Producer Sharon Cha
- Sound Designer Seamus Kilmartin
- Talent Raymond Cruz
- DP Paul Donachie
- Production Designer Denise Pizzini
- Line Producer Julien Lemaitre
- Juinior Editor Jake Swartz
- Assistant Editor Laurence Thrush
- HP Kristina Thoegersen
- Producer Gigi May
- Creative Director Matthew Fuller
- VFX Supervisor Sarah Marikar
- Senior Producer Graham Dunglinson
- Copywriter Joanna Stubbins
- Managing Director Jeffrey Miller
- Producer Dan Watson
- Talent Bryan Cranston
- Talent Aaron Paul
- Art Director Sara Cusumano
- Associate Creative Director Sadie Caparelli
- Creative Director Chris Bellinger
- Creative Director Matt Schaffer
- Senior Associate Creative Director Katheryn Renfroe
Above: Aaron Paul and Bryan Cranston returned to the screen as Jesse and Mr White in a Super Bowl spot for Pop Corners.
For Uber’s membership programme, Uber One, our team at Special US enlisted the skills of multiple-hitmaker Sean 'Diddy' Combs, as he attempted to make a hit song alongside a cast of pop royalty responsible for some of the catchiest tracks in recent history, from Montell Jordan’s This is How We Do It, to Kelis’ Milkshake. It delivered humorous script writing alongside the inescapable joy of a hugely hummable hit song. Nostalgic music is suddenly the cultural zeitgeist. Just look at the Netflix series Stranger Things, which brought Kate Bush’s 80s hit Running Up That Hill back into the mainstream.
The power of timeless storytelling
What does every great story have at its core to pull you in? Well, it has a challenge for the protagonist and, in the case of Uber, Diddy was tasked with making a hit to keep viewers hooked. And across the board, by leaning into the craft of timeless storytelling, brands dished up joyful entertainment for Super Bowl LVII at a time when the world can seem bleak and complex to navigate, engaging consumers across generations, and at scale.
Nostalgic music is suddenly the cultural zeitgeist. Just look at the Netflix series Stranger Things, which brought Kate Bush back into the mainstream.
Iconic ads are like a classic film, a novel, or a chart-climbing song; they create enduring entertainment that stands the test of time. But, most importantly, they answer a client’s challenge through a creative idea that can cross channels. Human creativity is at the centre, the bravery to take a risk, and the craft of making great work, to cross any medium.
Above: Kate Bush's song Running Up That Hill (Deal With God) became a hit in 2022, 37 years after its first release after featuring in Stranger Things.
Nostalgia’s rise
Nostalgia has been trending for the last few tumultuous years, reinforcing the concept that people seek comfort when their reality is challenging. TikTokers are obsessed with nostalgia, and hashtags like #throwback #retro and #vintage are finding favour with the digital native Gen Z. The 90s was really the last era before tech took hold of people’s lives, and 90s nostalgia has risen in popularity, seeing the resurgence of the Blackberry, flip phones and cassettes being played and mixed again.
Perhaps, to move forwards, we have to look back.
But nostalgia is also about the enduring nature of timeless creativity. Pundits predicted the extinction of cinema, paper books and vinyl, but it never happened. Print is proving that it’s not yet dead. Why? Because these artforms are timeless, they’ll never die out, even if they’re reimagined through Web3 or digital. And perhaps, to move forwards, we have to look back.
Credits
powered by- Agency Special Group/Los Angeles
- Production Company Biscuit Filmworks/USA
- Director Andreas Nilsson
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Unlock full credits and more with a Source + shots membership.
Credits
powered by- Agency Special Group/Los Angeles
- Production Company Biscuit Filmworks/USA
- Director Andreas Nilsson
- Ad Agency Special Group/Sydney
- Managing Director/Partner Shawn Lacy
- Head of Production Sean Moody
- Executive Producer Holly Vega
- Executive Producer Andrew Travelstead
- Editing EXILE Edit
- Editor Katie Turinski
- Editor Jacob Schulsinger
- Editor Nate Gross
- Executive Post Producer Jennifer Locke
- Color Company Trafik/Los Angeles
- Colorist Dimitri Zola
- Executive Producer Meghan Lang Bice
- VFX Pariah VFX & Post
- Head of Production Michael Steinmann
- VFX Producer Andrew Rosenberger
- Music Walker
- Managing Director Sara Matarazzo
- Senior Producer Danielle Soury
- Sound Design/Audio Mix Eleven Sound
- Sound Designer/Audio Mixer Jordan Meltzer
- Executive Producer Melissa Elston
- Audio Producer/Assistant Mixer Andrew Smith / (Audio Producer)
- Chief Creative Officer Tom Martin
- Chief Creative Officer Julian Schreiber
- Talent Sean (Puffy/P Diddy) Combs
- Talent Montell Jordan
- Talent Kelis
- Talent Donna Lewis
- Talent Nestor Alexander Haddaway
- Talent Vegard & Bard Ylvisake (Ylvis)
- Associate Creative Director Alyssa Cavanaugh
- Creative Director Phillip Fattore
- Executive Creative Director Dave Horton
- Executive Creative Director Matthew Woodhams-Roberts
- Executive Producer Amanda Weiss
- Executive Producer Felix Messina
- Producer Luke Franek
- Executive Creative Director Danielle Hawley
- Global Creative Director Ecole Weinstein
Credits
powered by- Agency Special Group/Los Angeles
- Production Company Biscuit Filmworks/USA
- Director Andreas Nilsson
- Ad Agency Special Group/Sydney
- Managing Director/Partner Shawn Lacy
- Head of Production Sean Moody
- Executive Producer Holly Vega
- Executive Producer Andrew Travelstead
- Editing EXILE Edit
- Editor Katie Turinski
- Editor Jacob Schulsinger
- Editor Nate Gross
- Executive Post Producer Jennifer Locke
- Color Company Trafik/Los Angeles
- Colorist Dimitri Zola
- Executive Producer Meghan Lang Bice
- VFX Pariah VFX & Post
- Head of Production Michael Steinmann
- VFX Producer Andrew Rosenberger
- Music Walker
- Managing Director Sara Matarazzo
- Senior Producer Danielle Soury
- Sound Design/Audio Mix Eleven Sound
- Sound Designer/Audio Mixer Jordan Meltzer
- Executive Producer Melissa Elston
- Audio Producer/Assistant Mixer Andrew Smith / (Audio Producer)
- Chief Creative Officer Tom Martin
- Chief Creative Officer Julian Schreiber
- Talent Sean (Puffy/P Diddy) Combs
- Talent Montell Jordan
- Talent Kelis
- Talent Donna Lewis
- Talent Nestor Alexander Haddaway
- Talent Vegard & Bard Ylvisake (Ylvis)
- Associate Creative Director Alyssa Cavanaugh
- Creative Director Phillip Fattore
- Executive Creative Director Dave Horton
- Executive Creative Director Matthew Woodhams-Roberts
- Executive Producer Amanda Weiss
- Executive Producer Felix Messina
- Producer Luke Franek
- Executive Creative Director Danielle Hawley
- Global Creative Director Ecole Weinstein
Above: Sean 'Diddy' Combs brought back some classic tracks in Uber One's Super Bowl spot.
Big investment for big return
A 30-second ad spot cost a mighty $7 million in 2023, up from $6.5 million the previous year. That’s quite the investment, yet the reach is just as huge. This year, 79% of US adults surveyed by Marketing Brew and Harris Poll said they were at least somewhat likely to watch the Super Bowl, and three-quarters of people who planned to watch said they were excited about the ads.
Nostalgia can deliver feel-good, impactful advertising that will comfort consumers in tumultuous times.
But will traditional TV spots be enough to keep engaging Gen Z and Alpha, or will more mobile-focused entertainment need to come into play? What’s for certain is that timeless storytelling must always be the beating heart of it.
There’s plenty to takeaway from the momentum of the Super Bowl spots. Mainly it’s about how nostalgia can deliver feel-good, impactful advertising that will comfort consumers in tumultuous times, and keep brands front-of-mind when the going is good again. It also shows that stories never fade, they are just reimagined for new eras and generations.