“While soap operas are known for their dramatic flair, learning that many consumers were using soap to wash their face emphasized the need for some dermatologist skincare-expert education,” says Melanie Vidal, CeraVe global GM. “We can effectively reach a Gen Z audience and teach them how to cleanse like a dermatologist, all while maintaining the signature CeraVe humor that resonates with our audience.”

Such humor, of course, fueled the award-winning “Michael CeraVe” Super Bowl outing and its follow-up take on rom-coms. “Cleanse Like a Derm” slots right in, awash in silly social satire and canny brand building.

Nicole Como, global digital creative strategist at CeraVe, told Muse that filming took place in an actual mansion, and the “mustachioed fool” (actor James Babson) stayed in character even when the cameras stopped rolling.

That face! Method acting!

The work will run across social, digital and streaming platforms. Natch, there’s a microsite.

Also natch, CeraVe will partner with social influencers (40, we’re told) to amplify the message. And a “Drama-Free Cleansing Tour” hits the road next month.

Win or lose, they’re such babies!

It’s a simpler approach than last year’s outing from the Morgan Stanley-owned brand. That one took place at a baby-wedding.

Though fun, it felt a tad busy. While perhaps no classic, 2024’s entry fuses two cultural tropes—Pickleball and the infants themselves—in an uncluttered vignette that feels on point with the cuteness and investment quips.

“The Big Game is not just the most watched American event of the year, it also comes at a point of reflection—after the holiday season, where many may feel financially exhausted, and at the start of the year where folks are looking for a fresh start and new money habits,” says Andrea Zaretsky, CMO at Morgan Stanley Wealth Management. “Through this ad, we aim to encourage consumers to get in the game, figuratively through Pickleball, but on a very real level through taking control of their finances.”

This marks the babes’ third straight Big Game appearance. One or more of the diapered dynamos have graced numerous SB ads since debuting in 2008.

CLICK HERE to watch all of this year’s Super Bowl commercials as they’re released. 

Hip and understated, Foxx holds everything together in the spot developed by 72andSunny. It would have been so easy to go too far. But he keeps the message tightly focused amid lots of sound and fury. (Plus fire, too.)

And while amusingly OTT, the sports antics don’t feel forced. Rather, they’re an intrinsic part of the pitch.

We can say the same for Mailchimp’s impressive ball-of-humans metaphor from another of the week’s standouts. It’s a compelling B2B approach that should keep eyes locked on screens.

Tech brand PRISM+ launched the weirdest work of the week, hands down. Once you’ve seen a naked turkey guy prepped for basting, it’s not easily forgotten. (But perhaps not everyone’s taste?).

Finally, Amazon’s sojourn to Ancient Rome merits mention. Its cinematic touches and bass-heavy beat imbue the tale with a timeless allure.

As usual, ace director Wayne McClammy, pays off with a larger-than-life scenario that bolsters the brand. Shot in the NoMad Library, a restaurant and lounge at Park MGM, the commercial feels grounded and classy despite the raucous goings on.

Developed with 72andSunny, the work aims to “showcase our unique product and connectivity to MGM Resorts’ iconic Las Vegas destinations,” says brand chief revenue office Matt Prevost.

This approach rocks a decidedly different vibe than the funky, celeb-drenched efforts from DraftKings and others. Here, Foxx never overplays his hand. Instead, he provides a fine foil for the antics. While outrageous, they’re not as abstract or oddball as FanDuel’s ill-fated, philosophizing chickens. So the ad seems more relatable. Always on point, the visuals underpin an imminently ownable position.

Breaking this week, campaign elements will run across broadcast, OOH, CRM, digital, social and owned channels.

Congratulations, suspicious interwebs, you sussed it out. The NFL really does work from scripts. All the time. To plot every dramatic twist and turn.

And it does so … for its commercials. But not on the field of play. D’uh!

In fresh ads from 72andSunny, the league pokes fun at conspiracy theories about scripted games. Director Aaron Stoller imbues the spots with a sassy satirical vibe, mirroring his beloved “Heisman House” blitz for Nissan. 

FADE IN: A Hollywood-style story conference, with Keegan-Michael Key as the director, and NFL elites cast as “actors.” They’re pitching scenarios for the league’s 104th year.

“Okay, we need something juicy for mid-season,” Key says.

Chicago Bear Justin Fields suggests banning sacks. His fellow QB, Kirk Cousins of the Minnesota Vikings, whoops it up in agreement. Shirtless Kirk steals the scene with his energy and bling.

After more banter, the commercial promises a boffo finish for the Super Bowl. Everyone oohs, aahs and applauds as they scan the script’s last page.

“Just think of the memes!” Key quips.

CUE TAGLINE: “You Can’t Make This Stuff Up.”

The in-jokes fly thoughout, with Patrick Mahomes, D.K. Metcalf, Dexter Lawrence, Ja’Marr Chase, Jalen Ramsey, Travis Kelce and Jason Kelce getting in on the fun. (The Kelces’ mom Donna makes a cute cameo).

“This year, it felt appropriate to let loose and have fun. Also, we wanted to highlight the entertainment value of NFL football,” 72andSunny ECD Zach Hilder tells Muse. “The NFL is so much bigger than players and plays. The storylines are epic. The plot twists are sometimes almost unbelievable. We tried to remind fans of that without being heavy-handed. Plus, we wanted to see Justin Fields pitch the idea of swapping his legs for wheels. I mean, who doesn’t want to see that?”

This ranks as NBA-level cultural awareness, with high entertainment value. It’s a pointed clap-back at doofus detractors, delivered with good humor and just enough goofiness to score.

Even better, it should appeal to folks who aren’t up on the latest viral shenanigans. (Bare-chested, bejeweled Kirk transcends all context!)

Below, Hilder, agency co-founder Glenn Cole, NFL CMO Tim Ellis and league SVP, global brand Marissa Solis discuss the creative approach.

MUSE: Why do this style of humor and lean into the headlines?

Tim Ellis, NFL: No one is expecting this. It’s taking the opportunity to have some fun with a popular meme and myth out there that the season is fixed. And our fans aren’t accustomed to the NFL making fun of itself. Self-effacing wouldn’t be the first thing that comes to mind when you think NFL. So, we kick off our season by stating, “You’re right, it’s all made up.” We think fans are going to eat it up, and hopefully it will remind them why they love this game so much. It will encourage deeper engagement and that sense of community.

Glenn Cole, 72andSunny: We first discussed the idea of a “Scripted” campaign back in February. NFL fan culture and meme culture share a fun obsession with scripted storyline conspiracies. Even the athletes love to play with it. So when the new season approached, we leaned into it. We knew we had the right idea when we pitched it to the players. D.K. signed on before he even saw the script. Tim pitched Mahomes, the Kelces, and Kirk Cousins, who fearlessly leaned into it. Just look at Kirk. Fearless! 

So, hardcore fans will be delighted and surprised? 

Tim Ellis, NFL: Understanding what our fans want and even need to hear from us is crucial. So, it’s about football, but it’s also about cultural leadership. And sometimes it’s simply about escape and tapping into the excitement and anticipation of the return of the season. Creatively, we also look to tap into emerging artforms and storytelling. And yes, even memes and urban myths. This is critical in order to stay relevant and retain that edge.

Beyond debunking the meme, what the main goal?

Tim Ellis, NFL: Football is one of those games where literally anything can happen in a season. Your team may have been at the bottom of their division last year, and suddenly you find yourself in contention for the Super Bowl. It’s also true that the quality, competitiveness and intensity of the matchups and rivalries over the last few seasons have been insane. So, we knew that we had an incredible level of momentum and pent-up excitement going into the 104th season.

The players-as-actors certainly seem in character.

Tim Ellis, NFL: What I love in this campaign is how our players are driving the humor. When I came to the league five years ago, we started the helmets-off strategy, which was designed to help fans get to know our players better as people and not just as world-class athletes. It makes them more relatable and encourages deeper engagement. And when you see this campaign, you can’t help but be impressed with the quality of performance. The acting is really incredible. The guys are hilarious. And of course, Keegan-Michael Key is brilliant. The players really responded well to Keegan, and I think he helped them just bring it. 

Must’ve been fun on set. 

Marissa Solis, NFL: It was awesome to see the players really getting into it. I remember when Dexter Lawrence saw the script and had to do his “Sexy Dexy” [dance]. He was nervous at first. He wanted it to be perfect. Then, he did it a couple of times and really started enjoying it and ad-libbing fun moves.  We were able to capture all of the players and Keegan’s natural reactions as we were shooting because so much of it was ad-libbed. That is what made is so great. There was a lot of laughter on the set!

Zach Hilder, 72andSunny: One of my favorite moments was filming Donna Kelce. She’s so authentic. So relatable. So funny. She might actually have a thing for Jimmy Garoppolo. I don’t know. She has a great poker face.

You did have a script, right?

Tim Ellis, NFL: We had an approved script, but everyone was having so much fun that new ideas and things were just organically coming together. It was almost like improv. One person would start something and everyone would just jump in and make it better. 

“Lines have been drawn, and it’s hard to get a word in when discussing polarizing topics if you don’t already believe the same thing,” says 72andSunny executive creative director Elaine Cox. “So, everyone retreats to their own corners, trapped in an echo chamber of their own making, never to reach out to the other side.”

“But when we put up walls between ourselves and those with opposing beliefs,” she continues, “they exist in a vacuum of information, and we let them make assumptions about reproductive healthcare and the reasons people need it. This campaign is designed to force us together for just a moment, reopen the lines of communication, and share the life changing and life-saving power of access to abortion care.”

A downside, perhaps, is that folks on the right might feel forced into watching a message with which they fervently disagree. It’s hard to see how a “View this or else!” gambit helps bring combative sides together Or maybe a strong ultimatum’s required to shake up the status quo and spark conversation.

At best, a few minds will open, just a crack. Some folks on the fence might consider the broader human cost of the Dobbs decision.

Given the intense nature of this particular subject, we doubt it. But stressing the greater good seems like a prudent path to tread, even if only a few users take the first step.

“We now have the opportunity to completely reimagine what abortion access looks like in this country,” says Christie Pitney, executive director of Abortion Freedom Fund. “By calling people in and offering this creative dialogue of the ‘Made By Choice’ campaign, we can highlight that the pro-abortion movement truly is pro-life and works toward accessible reproductive health and abortion care for all.”

72andSunny’s live-action trailer for Diablo IV opens with a dead horse in the snow, mutilated, it would seem, by some fearsome monster.

The :60 from Academy Award-winning director Chloé Zhao gets a wee bit dark after that.

Blizzard Entertainment drops the highly anticipated game on June 6. From this film, it looks like a pretty intense experience. Fiery destruction and demonic chaos abound. Characters plead for salvation as Lilith—the title’s winged villain—goes on a rampage.

Gee, that looks like … fun? Sure, there are hints of powerful heroes fighting back against the forces of evil. But still, when you plop a dead animal in the first frame, it makes us want to chill with something where the wildlife survives.

Of course, Diablo’s a famously freaky, violent game. So, the imagery stays true to form, and should entice fans to check out the update. As if they need any inducement.

“Bringing to life one of gaming’s darkest and most revered franchises is both a huge responsibility to the fans and a once in a lifetime experience. I mean, when are you going to get to recreate a blood-soaked, demon-riddled hellscape with an Oscar-winning director again?” says 72andSunny group creative director Tim Wolfe.

Zhao adds: “Diablo fans are very passionate, and many have been with the game for over two decades. We want to do right by the fans, honor the game’s rich lore and visceral world building while evoking the strong emotions the players feel while immersing in the game.” 

Hype around this launch has been impressive. Earlier work cast the game’s Doomsayers as household help, and the brand memorably painted huge character images across a French cathedral ceiling.

CREDITS

Client: Blizzard Entertainment
Agency: 72andsunny
Film production: Superprime
Director: Chloé Zhao
Co-director: Kiku Ohe
Editorial: Work Editorial
Color: Company 3
VFX/Post production: The Mill
Sound design: LIME
Mix: LIME
Music composition: Walker

“After reading thousands of customer reviews on Amazon, it felt like we were getting a peak into what the brand means to people,” says 72andSunny creative chief Matt Murphy. “The stories in the reviews told us not just about buying things, but that it’s what people do with the things they buy that matters.”

Director Gary Freedman delivers vignettes with just the right balance of mainstream appeal, good humor and zippy flow. He’s become adept at this style, most notably for Ikea Canada, Leffe and Autodesk (thought Freeman built a somewhat broader farce in that last one).

This stuff feels safe but compelling. It’s cute, but not syrupy. While not the slightest bit edgy, there’s enough visual flair to hold eyeballs. If you’re Amazon, that’s probably just what you ordered. The company’s fortunes have improved of late, with an impressive Q1 swing to profit. Best to double-down on the core mission with a highly relatable message that appeals to as many folks as possible. Why rock the boat?

“We believe our customers, like us, are always looking for easier and better ways get things done, solve problems, or simply find inspiration from browsing in our store,” says client global brand VP Claudine Cheever. “Amazon exists to enable their inventive spirit with our ease, selection, value and convenience.”

Ads launch today in North America on TV, digital, social and Spotify digital audio.

CREDITS

Brand: Amazon 
Creative Agency: 72andSunny Los Angeles 
Production: MJZ
Director: Gary Freedman
Editorial/Post: Union 
Mix: Beacon St Studios
Color: Company 3
Finishing/Flame: Hunter
Photography: Emma Hardy

Amazon
Worldwide Executive Creative Director: Jo Shoesmith
VP Global Brand and Fixed Marketing: Claudine Cheever
Director of Global Brand: Walter Frye
GM Integrated Marketing: Ed Smith
Global Head of Campaigns: Laura Downey
Sr. Brand Campaign Manager: Tessa Pauly
Sr. Creative Program Manager: Simran Sudan
Sr. Campaign Manager (EU): Grant Goodwin
Creative Program Manager (EU): Lindsey Cockle
Group Creative Director: Tom Pettus
Creative Director: Joe Godard
Creative Director: David Lord
Head of Creative Production: David Connell
Sr. Content Acquisition Manager: Melissa Somosky 

72andSunny, Los Angeles 
Chief Creative Officer: Matt Murphy
Executive Creative Director: Lauren Smith 
Creative Director: Scott Reedy
Creative Director: Shawn Raissi
Sr. Designer: Kailey Riggen
Sr. Writer: Lulu Wimberly
Design Director: Mike Farrell
Head of Production NA: Lora Schulson 
Director of Production LA: Nicole Haase
Executive Producer: Rebecca Wilmer
Jr Producer: Elena Licursi
Director of Art & Print Production: Ali Berk
Senior Art Producer: Julie Amenta
Director Partnerships and Legal: Charissa Kinney
Partnerships and Legal Manager: Jacy Glassey
Co-head of Strategy: Carl Mueller
Brand Strategy Director: Karol Chang
Group Communications Strategy Director: Thomas Steiner 
Group Brand Director: Shane Chastang
Sr Brand Manager: Annie King
Sr Brand Manager: Jensin Isenberg

Production Team
MJZ
Director: Gary Freedman
Director of Photography: Nicolas Karakatsanis
Sr. Executive Producer: Laura Macauley
Producer: Sara Cummins
Production Manager: Natalie Isaac

24/7
EP/Managing Director: Niklas Murray
Executive Producer: Tanya Sokolova

Union
Editor: Graham Turner
Sr. Cutting Assistant: Joe Schiffer
President/Managing Partner: Michael Raimondi
Producer: Lillian Ghodoushim

Hunter
Executive Producer: Logan Aries
Flame: Carolyn Woods
Animator: Scott Talbot

Company 3
Colorist: Matt Osborne
Producer: Dan Butler

Beacon Street Studios
Mixer/Sound Designer: Rommel Molina
Executive Producer: Kate Vadnais

Photography: 
Photographer: Emma Hardy
Producer: Sam Haywood
Retouching: Velem NYC

Fun facts: In Talmudic texts, Lilith is the Biblical Adam’s first wife, created as his equal. There’s some dispute about who gets to be on top during sex, and she eventually leaves him to get it on with some fallen angels, ultimately becoming the mother of the chief demon who haunts boys that masturbate. It’s only after this failed first union that Adam complains to God, who makes Eve out of his rib so she’ll be neatly subordinate.

Given the nature of Adam’s complaint, and the way God addresses it, we personally feel Lilith had good reason to ditch him. It only seems fair that if Diablo IV’s going to paint her as the ultimate Big Bad, people might as well know who they’re actually up against. Especially given that we’re just a hair out of International Women’s Day.

Miller and his team spent 30 days creating 20 paintings for “Cathedral of Diablo,” and the final product spanned 160 feet across 2400 square feet of canvas. It really is stunning stuff, Lilith propaganda aside.

This BTS reel takes an in-depth look at the campaign’s creation:

Meanwhile, in Peru, Amnesty International gives us “The Best Religion is Love.” Created by Havas Group, the work uses shots of stained-glass windows in churches, illuminated by natural light that generates the colors of the Pride flag.

Click the images to enlarge:

The campaign promotes a bill that would legalize same-sex marriage in Peru. The creative approach is meant to suggest that love—in this case, represented by Pride’s recognizable shades—is the most meaningful foundation on which to build your figurative house of worship.

Diablo and Amnesty provide an intriguing contrast. The decision to place advertising in a church leverages a more general quest for meaning. And while Diablo sustains quite staid ideas about fallen women from the perspective of Abrahamic religion, it’s also a funny choice. The Jesuit order was Roman Catholic, and Lilith isn’t part of their mythology (though she’s convenient for propping up the evils of masturbation. Honestly: Do you really want to defeat a villain whose great gift to the world was self-pleasure?). Still, the gist is understandable: In “Cathedral of Diablo,”Lilith is connected to a long lineage of relatable religious belief, making her feel like a tangible evil.

Amnestyls “The Best Religion is Love” appears simpler but surprisingly more nuanced. Peru is a conservative nation, so the tagline and the use of stained glass windows hits right where it hurts: Faith shouldn’t be about following dogmatic tenets to the exclusion of all else; it should have some kind of cohesive community function.

Depending on who you are and how you were raised, the use of a church in this sense is contentious. People often feel either excluded or accepted there. But given churches’ often critical role in bringing communities together one day a week, they are, in the most ideal sense, sites where one should be able to feel like they’re coming home, no matter who they are.

With the exception of Lilith, I guess.

CREDITS

“The Best Religion is Love”
CCO: Mauricio Fernández Maldonado
Creative Director: Moisés Urrutia
Art Director: Luis Rios
Senior Creative: Juan Carlos Gallardo
Photography: Luis Cisneros / Fabrizzio Hidalgo