They couldn’t freeze out Reggie Bush forever.

This week, the former star USC running back emerges from a frosty chamber in the latest installment of Nissan’s beloved “Heisman House” campaign.

Bush debuts in da House just months after reclaiming his 2005 Heisman Trophy. College football’s biggest prize which was taken from him in 2010 amid allegations that he received money and gifts in violations of NCAA rules.

That’s … cold. Especially in today’s NIL era, with elite college players reaping brand benefits and bucks all the time.

Anyway, for Reggie, all’s forgiven.

Now, the newly-thawed dude must catch up on what’s been going on during the past 14 years at the House. Schtick about VR and social media ensues in vignettes directed by Biscuit’s Aaron Stoller.

Also appearing: Heisman winners Jayden Daniels, Baker Mayfield, Robert Griffin III, Mark Ingram, Tim Tebow, Desmond Howard, Billy Sims, Steve Spurrier and more. TBWA\Chiat\Day N.Y. developed five ads, hyping the 2025 Nissan Kicks, 2024 Nissan Z Heritage Edition, 2025 Nissan Rogue and other vehicles.

“‘Heisman House’ is more than just a campaign. It’s become a part of culture, woven into the fabric of people’s hearts, and something they eagerly anticipate each year,” says Marisstella Marinkovic, Nissan U.S. VP and CMO.

Amid the usual silly humor and manic team mascots, Reggie’s newsworthy presence should provide an extra push into the public consciousness. He’s down with the “Push,” after all.

“When it was first announced that Reggie was getting his Heisman trophy back, fans on X immediately started speculating” about Bush joining the House, Marinkovic tells Muse. “Just having Reggie Bush on set with all the other Heismans was great to see. Everyone was so excited for him.”

“Jayden Daniels, a longtime fan of Reggie’s and the newest Heisman, was starstruck and the two exchanged jerseys,” she says. “It was a really sweet moment and just showed how much winning the Heisman trophy really bonds the players together.”

As part of the initiative, EA Sports is hosting an activation for its College Football 25 title. In October, players can register to compete virtually to win a Nissan Kicks1 and other prizes.

The post Reggie Bush Chills in Nissan’s Heisman House first appeared on Muse by Clios.

Any time you’re referencing Three’s Company in a client presentation, you’re winning.

The assignment was a familiar one, creatively. But challenging from a production standpoint.

Plymouth Rock Assurance needed a TV campaign to highlight their New England sports sponsorships with the Bruins, Patriots and Red Sox. Great assignment! But we didn’t have the luxury of shooting individual ads covering each team. So, how do you get baseball, basketball and hockey messages to comfortably co-exist, in an ongoing construct, over many executions?

We knew we’d be able to feature the logos and mascots. Likely a Patriots cheerleader. Possibly, Bruins hockey announcer Jack Edwards for a cameo. Maybe a player—at some point. Those were the ingredients we had to cook with.

As we dove into the concept phase, we thought, “What if we had characters that represent each team? And have them all, inexplicably, live together, In a house, where they talk about nothing but sports and insurance? Could that work?”

We mulled classic sitcoms like Three’s Company, Seinfeld and Welcome Back Kotter. And even Adult Swim’s internet smash “Too Many Cooks.”

The sitcom format could allow all these different characters—”the gang,” in genre parlance—to-intermingle with no rhyme or reason. That seemed like a fun, conceptually sound solution. Plus, few cities are more sports-obsessed than Boston. Hockey fans are football fans are baseball fans. So, even though they might see the commercials during a Bruins game, they’d be happy with a Patriots or Red Sox reference. Ultimately, we decided to put every sport in every spot.

Of course, if you’re doing a sitcom, you need a theme song. We didn’t have the budget for a bespoke music composition. But fortunately, I’m an ASCAP songwriter and the team trusted me to take a swing at it. And I had my longtime collaborator Tom Polce (of the legendary Boston band Letters to Cleo) produce the music with jazzy genre flourishes.

We produced six spots in the first campaign (“Season One” in 2022). They rolled out over the course of baseball, football and hockey. The feedback from the client, teams and fans was positive. A year later, they greenlit “Season Two.” At that point, we added Bruins defenseman and Norris Trophy finalist Hampus Lindholm.

Now, any creative who’s ever shot athletes will tell you: It’s fun and exciting to meet the players, but it can be tough to get good performances. And “The Bostonians” format required dialogue in every spot. On top of this, Hampus is Swedish. English isn’t even his native tongue. Uh-oh, right? Well, actually, no. Hampus is pretty darn hilarious, personable, open to direction and was happy to do the necessary all the takes over a full day of shooting. If this hockey thing doesn’t work out for him, he might have a solid “Plan B” on camera. With Mr. Lindholm’s presence adding to the festivities, “Season Two” felt even bigger and better than the first.

A simple advertising truth: It’s extremely hard to a) find a construct that works over many, many executions and b) have a client stick with that construct over time.

But our team at Plymouth Rock—Brad Baker and Amber Dempsey—have been champions of “The Bostonians” campaign since the start. Additionally, we’ve been able to keep the core cast—Paul (the Minuteman), Jimmy (the groundskeeper), Landon (the Ice Cleaner) and Sam (the sister)—together.

We’ve even had access to the same Brady Bunch-style home location, too. I mention this continuity because “Season Three” (2024) was produced under unique circumstances where that familiarity was much appreciated.

As work for the third installment got underway, the agency I founded, HeyLet’sGo, where “The Bostonians” started, was in the process of being acquired by Rival. We were in production as the deal got done.

So during the acquisition—a time of massive change—we had this familiar, steady campaign as one of the first projects completed at the new agency.

New team? New agency? No problem. “The gang” was coming with us. Like the theme song says: “Knock-knock, come on in. They’re the Bostonians.”

The post A Look Inside Plymouth Rock’s ‘Bostonians’ Campaign first appeared on Muse by Clios.

What’s making such a racket on the roof!? Is San Francisco 49ers tight-end George Kittle and his famously flowing locks up there?

George makes a diverting DirecTV pitch via TBWA\Chiat\Day L.A.—sporting a chrome-dome with silky, shaggy sides—to trumpet the service’s dish-free options for NFL and college football.

“George was really kind and fun to work with,” recalls agency senior art director Laurie Dickey. “He easily leaned into the role and hammed it up. His personality naturally lent itself to the dramatic poses and silliness we were looking for.”

He looks kind of like Fabio. An oddly balding Fabio. You rock, DTV!

“After the shoot, he was going out in Nashville, and asked if he could keep the look on,” adds senior copywriter Lex Singer. “But the makeup artist said it would be a nightmare for him to take off by himself. So he opted not to wear it out on the town.”

Maybe next time, Big Guy.

The push follows DTV ads with Deion Sanders, Henry Winkler and Steve Buscemi voicing pigeons, plus a baseball-themed outing with MLB Hall of Famer Randy Johnson.

Those are fun. But Kittle’s commercial scores equally well, with ArtClass director Vince Peone displaying a keen eye for hirsute absurdity.

The post NFL’s George Kittle Rocks a New Hairdo for DirecTV first appeared on Muse by Clios.

A bet’s a bet, especially between pals during football season. When your team loses, you might have to endure some … embarrassment.

Fireball Whisky demonstrates this time-honored tradition in a pair of spots from Sazerac and Jumpsuit Agency.

Who needs eyebrows anyway?

And as for tattoos, the more humiliating the better!

That should wash right out.

Note the cartoon Fireball devil perched on comic Andrew Santino’s right shoulder, but no angle on his left. This is football fandom! Compassion and conscience don’t apply.

Santino and Stavros Halkias, also a comedian, give broad bro performances befitting the silly scenarios.

“We partnered with comedians Andrew and Stavros because they embody that perfect mix of mischief and humor and truly capture the fun of football rivalries and game-day excitement with your friends,” Danny Suich, global brand director, tells Muse.

“Because they’re friends in real life and are authentically passionate football fans with a competitive streak, they align with the spirit of our creative,” Such says. “Their chemistry and lively banter resulted in one-liners showcasing a few scenarios that are perhaps a bit exaggerated, but also totally plausible in the real world.”

He adds: “The guys took the framework we had in mind and workshopped it together to make it truly funny and right for their brand of humor. As it always goes, most of the best lines were improvised.”

Indeed, the wild sea-creature tattoo emblazoned on Stavros’ back “was shaped with the guys while we were shooting and brainstorming.”

The work breaks across BIG 10 and Notre Dame college football games on NBC starting this weekend. NFL alignment includes Peacock’s Sept. 6 matchup between the Philadelphia Eagles and Green Bay Packers from Brazil. Natch, there’s a TikTok push to lure younger fans, too.

The post Fireball Whisky Ignites Funny Football Rivalries first appeared on Muse by Clios.

The sight of Buffalo Wild Wings’ freaky mascot taking a bubble bath is worth the price of admission. Add former NFL standout Jason Kelce to the mix, and you’re got one rad football-themed campaign from Anomaly.

In spots breaking today, Jason says he misses playing the game. And he wonders if brother Travis makes enough time for him.

These are issues only a brand-boosting buffalo with wings can address. But gridiron action playing on a TV above the bar, spicy wings and beer help, too.

“For B-Dubs, the start of football season is our Super Bowl. Because it turns out there’s no better place for football,” says Anomaly CCO Josh Fell. “True if you’re a recently retired Kelce and true if you’re a 3,000-pound Buffalo. And, you know, all the normal people in between.”

“When it comes to making ads, Jason Kelce is probably the next Peyton Manning—supremely talented, shockingly down to earth—which we assume Peyton also is—and of course, really, really tall,” Anomaly creative director Dan Berenson tells Muse.

Hank the buffalo debuted a year ago. His sassy personality rocks, and you’ve gotta smile at this schtick with Jason.

Just two hairy bros, sharing wings and NFL games. That’s how they roll in football country.

CREDITS

Agency: Anomaly
Brand: Buffalo Wild Wings
Production Company: Smuggler
Edit House: Cartel
VFX/Animation/Finishing: Untold Studios
Mix+Sound Design: Lime Studios

The post Buffalo Wild Wings Mascot Is Jason Kelce’s New Bro first appeared on Muse by Clios.

If it wasn’t for Scott Reames, the history of Nike, especially the early days, might have been lost.

But as Nike’s first brand historian, Reames researched, fact-checked, confirmed and preserved the story of the world-famous shoe and apparel company for posterity.

Now retired, Reames recently chatted with Muse about how he spotted information gaps, pitched Nike higher-ups on the need for an in-house historian and eventually landed the post.

IT’S ALL IN THE DETAILS

Reames started working for Nike in 1992 and retired in 2021. “I had four different roles at the company over those 30 years, and each sort of led to the next one, which ultimately led to the historian role,” reflects Reames, who did stints in retail marketing, sports marketing and communications.

At the outset, Reames served as a marketing coordinator tasked with putting on events at the Niketown stores in Portland, Ore., and Chicago featuring athletes who worked with the brand. In that position, Reames first made his mark as someone who saw the value of having easily-accessible information available for use inside Nike.

“In the ’90s, before the advent, or at least the ubiquity of the internet, it was really hard to get current information about an athlete,” he recalls. “If an athlete’s coming to your store, you want to know how many strikeouts he has, or how many marathon’s she’s run, if they’re allergic to strawberries, what size they wear. And it was really a pain in the butt to look this information up.”

Reames believed that Nike needed a database with all of this information in it. So, he brought the idea to the company’s director of sports marketing. “I said that Nike needed its own version of a sports information department, like universities or professional teams. He liked the idea. And the next thing you know, they wanted me to start managing the database.”

GETTING THE FACTS STRAIGHT

By 1997, Reames was working in public relations. While sitting in on press interviews Nike co-founder Phil Knight and other senior execs, he noticed that they sometimes got facts wrong about their own company.

“They’d say something like, ‘We opened our first retail store in Eugene.’ And I was thinking to myself, ‘I thought we opened our first store in Santa Monica.'”

The errors weren’t intentional. It’s just that no one had been documenting the company’s history. Yes, there were archives, but the archives were a collection of items.

In Reames’ mind, that wasn’t enough. So in 2003, he began putting together a proposal for an in-house historian position at Nike “to augment, or complement, the archives.”

Reames suggested that an in-house historian could oversee the Department of Nike Archives—DNA for short—”because I liked the acronym, and I liked the image it came with.”

He drove home the point that the stories behind the formation and history of the company—as well as how products evolved—shouldn’t be lost. “Otherwise, it’s just a shoe, or a piece of apparel. But if you know the context, who wore it, when they wore it, what they did in it, who designed it, why they designed it, what it inspired, what it was inspired by—all that continuity of the product makes it much more interesting,” Reames says.

In 2004, Reames had lunch with Knight and pitched the idea. “Three months later, I get a call from the director of the archives department saying he understands I had lunch with Phil. And I was like, ‘Uh-oh, I’m going to get in trouble.’ But he said, ‘We’re going to get a headcount approved for history. Are you interested?'”

LEARNING FROM OTHER BRAND HISTORIANS

Reames left Nike’s communications department and officially assumed the role of historian in 2005. One of the first things he did was organize an educational tour for himself and colleagues to meet historians at other companies.

First stop—Atlanta, where they met with Phil Mooney, the archivist/historian at Coca-Cola from 1977 to 2013. Next, Reames and his team dropped by CNN in to learn how they archived their video content. Then, they headed to Milwaukee to meet the Harley-Davidson folks, who were developing a brand museum at the time.

“Best practices are something we love to share as brand historians,” he says, “because why reinvent the wheel.”

MINING THE MEMORIES OF NIKE’S FOUNDERS

Reames made it a priority to interview everyone involved with Nike’s founding. “I focused on what I would call the first generation—the employees that either founded the company, or were hired very soon after the company started. “Jeff Johnson, Bob Woodell, Del Hayes. These people were all the first of their kind. So it was very helpful to get their stories,” he says.

Next, Reames interviewed current and former employees, athletes who worked with the brand and creatives, including Dan Wieden and David Kennedy from Wieden+Kennedy, Nike’s long-time ad agency, as well as Jim Riswold, the W+K copywriter behind so many iconic Nike ads, including the “Bo Knows” campaign, who recently passed away.

Reames believes he interviewed close to a thousand people to get the full Nike story. “I’ve always believed in Nike. I’m not an athlete by any sense of the imagination, but I very much love sports, and I love competition. So, just to be a part of that and to essentially have the privilege to be trusted to do this…”

“Right?” he marvels.

ESTABLISHING A TIMELINE

Another must-do was creating an official DNA timeline of company events and milestones—from scratch. Reames was particular about what he included. His approach was “nothing will go in that I can’t 100-percent corroborate with annual reports, or memos, or data.”

This timeline became “the Bible for our company,” and Knight relied on it when he was writing his memoir Shoe Dog.

“I gave him that timeline,” Reames recalls. And he said, ‘Oh my gosh, this lays everything out. It’s so clear here. This is how it happened—not what you heard.’”

SO YOU WANNA BE A BRAND HISTORIAN?

While some of his employees were assigned to his department, every person Reames personally hired was a journalism major. All were deft writers with demonstrable storytelling skills.

The ability to communicate a story effectively is a must for any brand historian, though Reames admits it isn’t easy to distill the story of a storied company like Nike into quick bites.

“I used to tell my wife, ‘I wish when somebody asks me a question about Nike, I could answer it in one sentence.’”

The post How Retired Nike Historian Preserved the Brand’s History first appeared on Muse by Clios.

Everyone can agree that Sundays come to a halt for NFL action … especially the mascots! And for the most part, they all get along. Well, maybe not the falcon and cardinal. YouTube TV created “The Magic of Sunday” in-house, with sweet visual effects provided by The Mill.

The work promotes NFL Sunday Ticket, where fans can watch their fave teams on a single platform. In that spirit, the spot gets the mascots together, under one roof, to peep some games.

We get a ram, lion, bear, falcon, jaguar, cardinal, giant, cowboy, buccaneer and Viking. (Wouldn’t wanna clean up the room after that.)

Directed by Matthijs van Heijningen Jr., the ad is set to the soft sound of Velvet Underground’s “Sunday Morning.” It’s Muse’s Ad of the Week!

Meanwhile, the NFL itself and 72AndSunny launched “Football Country,” full of cameos from players and other celebs. There’s high school athletes, flag football star Makena Cook, YouTube content creator Deestroying—and Haley Van Voorhis, the first woman to play a position other than kicker in an NCAA gridiron game. Stefon Diggs, Myles Garrett, DeMarcus Lawrence, plus Jason and Kylie Kelce rep the league.

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Finally, If you’re a betting person, DraftKings’ NFL ad has Kevin Hart and LeBron James. Hart roasts James’ age when he believes James wants to suit up for the NFL. “They want someone that can run a 40, not someone that IS 40.” “How are you gonna celebrate a win? You gonna give everyone butterscotch candy?” LeBron laughed, and we did, too.

The post YouTube, NFL and DraftKings Get Ready for Some Football first appeared on Muse by Clios.

Fandom is the heartbeat of any sport or entertainment experience, and in the world of Formula 1, you feel that power rumbling like mighty engines on the track. I had the chance to sit down with Jonathan Linden, co-president of Round Room Live. As the producer of the F1 Exhibition Experience—a traveling, 20,000-sq.-ft. interactive installation that tell the story of the racing circuit—he is a key figure in making the sport accessible to fans worldwide.

Here, we discuss how F1 has captured the imaginations of both die-hard enthusiasts and newcomers, and how the sport continues to grow its community. (EDITOR’S NOTE: Damian has previously worked with Round Room on F1.)

What is it about F1 that captures the spirit of its fandom?

JONATHAN LINDEN: F1 fandom has two sides. You have long-time motorsports fans who know the history, the drivers and the evolution of the teams. Then, there’s this newer wave of fans brought in by the Netflix series Drive to Survive. It’s fascinating, because the exhibition was originally planned to run primarily in Europe and Asia before hitting North America. But we switched that up because of how popular F1 has become in the U.S. We’ve gone from having just one Grand Prix in the States to three. And you can see the impact of that on the newer, more casual fans, who love the spectacle and excitement of the sport.

Did you expect the Netflix series to have such a huge impact when you started working on this project?

When we did the original deal in the summer of 2019, we knew about the Netflix show, but no one could have predicted the scale of its success. Drive to Survive has been a game-changer for F1, bringing a whole new audience and allowing fans to connect with the drivers on a more personal level. The brand has grown stronger because of it.

Has most of this growth been in North America?

Definitely. Before the Netflix series, F1 was huge, but primarily focused in Europe. Now, with races in Miami and Las Vegas, there’s a real buzz in North America. In 2019, there was a U.S. Grand Prix in Austin, and another in Montreal. Now, we have three in the U.S. and four in North America as a whole. It’s been a rapid expansion.

I’ve heard that F1 fans are typically higher earners. Is that true?

F1 is considered a premium sport, so there’s a lot of high-end appeal, and ticket prices reflect that. But the fan base is broader than you might think. It’s the pinnacle of motorsports innovation, and that appeals to a wide audience. Part of our goal with the exhibition is to make F1 more accessible, especially for fans who might not have the chance to attend a Grand Prix.

What do you think draws people to F1, especially at the exhibitions? What are the big “wow” moments?

The cars, without a doubt. Seeing a modern F1 car up close is something most people never get to experience. We have rooms dedicated to these cars, and the level of detail—the paint, the engineering—is just stunning. 

Fans will spend a lot of time just absorbing it all. We also have a fully immersive theater experience that resonates with today’s tech-savvy audience. But it’s the cars that really hold people’s attention.

What surprised you the most about the sport as you got deeper into it?

First, just how incredibly difficult it is to be an F1 driver. There are only 20 drivers in the world at any given time—an incredibly exclusive group. The physical and mental demands on these drivers are staggering. 

The second surprise was how many fans are deeply interested in the technical aspects. For example, we have a Haas car in Toronto where we removed part of the back plating to show the engine, and people are really drawn to that level of detail.

How do the legacy fans feel about the newer, more casual crowd brought in by the Netflix series? Has it changed the experience of the sport?

There’s definitely some pushback from the older fans who might feel that the new crowd doesn’t appreciate the history or details as much. But at the same time, they recognize that the new fans have helped push F1 into a higher level of popularity. It’s added more races, more TV contracts and more opportunities to engage with the sport. There’s always going to be some tension between tradition and new influences. But overall, it’s been a positive shift.

Where do you see the sport in five years?

We’ll see more races and expansion into new regions. The TV contracts are becoming bigger and more lucrative, reaching wider audiences. The technology is also evolving rapidly. Not just in terms of the cars themselves, but in how fans experience the races. The use of real-time data and telemetry is making the sport more engaging and understandable. That will continue to be a big focus.

What’s one word you would use to describe the feeling of experiencing an F1 event?

Loud! The sound of the cars, especially when you’re close to the action in the pits, is unforgettable. The whole atmosphere—the smells, the energy—is incredibly intense and leaves a lasting impression.

The post How Fandom Drives the Evolution of Formula 1 first appeared on Muse by Clios.

They play a high-stakes poker game with some twisty wordplay. “They say a man’s poker face is not his real face, but a face he uses to hide the face that he’s afraid to face,” Victoria purrs at one point.

LeBron’s suitably suave. And he shows off his physical comedy chops in a cute bit with the waiter.

He likes his limes “sliced, not squeezed.” Heh.

Just call him LeBond. Then again, don’t.

In 1962, Dr. No famously introduced Sean Connery’s 007 in a ritzy gambling scene. And then there’s Daniel Craig’s Casino Royale. This tribute puts a slick modern spin on such classic tropes.

“We approached this campaign with the intention of creating something entertaining, but also culturally relevant,” says Diego Osorio, Lobos founder and CCO. “Working with LeBron James and Victoria Justice was incredible, and I loved how they truly embodied their characters.” (Osorio himself embodies the part of the bartender.)

Oh, and everyone keeps their pants on. Unlike some tequila touters we could name.

Mssngpeces’ Marta Cunningham directed the :90, developed with Rosewood Creative.

The post LeBron James Spoofs 007 Flicks for Lobos 1707 Tequila first appeared on Muse by Clios.

The Olympic flame may be out. However, its most remarkable moments are still burning in the memories of fans across the globe. From surprise partnerships to viral products, the Paris 2024 Olympics were a masterclass in creative branding and cultural celebration.

Let’s dive into the 10 best marketing moments that had everyone talking, sharing, and clicking.

Snoop X NBC

Snoop brought his signature laid-back, humorous commentary to NBC’s Olympic coverage. Offering viewers a fresh and hilarious perspective on the Games. Whether he was cracking jokes about obscure sports or riffing on athletes’ performances, Snoop’s presence turned the Olympics into a pop-cultural phenomenon. His unique voice resonated across all demographics, making this partnership an instant win and one of the most talked-about marketing moments.

Olympic Village Chocolate Muffin

In a world where athletes need to fuel up, who would’ve thought that a simple chocolate muffin would become the star? The Olympic Village chocolate muffin became a viral sensation, with athletes from all over the world posting about its deliciousness on social media. It wasn’t long before fans and foodies started recreating their own versions at home, sparking a global chocolate muffin craze. This humble treat became the must-try item of the Games, proving that sometimes, the best things sell themselves.

Athlete and Celeb Olympic Pins

Olympic pins have always been a cherished tradition, but this year, they reached new heights of cool. Athletes and celebrities from Snoop Dogg to Simone Biles were spotted trading and showing off their unique pin collections, each representing different countries, sports and even special moments from the Games. From Instagram stories to TikTok videos, Olympic pins were everywhere, solidifying their status as the ultimate swag.

The Winners Gift

Amidst all the glitz and glamour, one subtle yet touching gesture stole the show—a gift given to winners on the podium. As athletes received their medals, they were also handed a golden box. Viewers by the millions took to social media to find out what the box contained, which turned out to be a now infamous commemorative map of Paris.  

Opening Ceremony Looks

The Opening Ceremony is always a fashion spectacle, and this year was no exception. Athletes from around the world stepped onto the global stage in stunning outfits that blended tradition with modern flair. Social media was abuzz, turning the established and upstart designers behind these looks into trending topics.

A Luxury Transport

The athletes weren’t the only ones looking stylish at the Games. Louis Vuitton added a little flair to the medals, too. The official Olympic partner crafted bespoke trunks with the brand’s signature Damier canvas and matte leather to transport the Gold, Silver, and Bronze medals and torches to Paris.

An Eiffel Tower Photobomb

The Eiffel Tower is a symbol of love, elegance and now, the Olympics, too! As athletes from around the world arrived in Paris, their social media feeds were flooded with stunning shots of the one and only Eiffel Tower. Whether it was a selfie, a team photo, or a creative take on the landmark, the Tower became the ultimate calling card of the Games. It was more than just a backdrop. It was a symbol of excitement and anticipation, making it one of the most recognizable images of the event.

Zhou Yaqin Impromptu Medal Photo

Sometimes, the best marketing moments are the ones that happen by accident. In a playful moment caught on camera, Chinese athlete, Zhou Yaqin bit her medal to join a winner’s podium photo moment. The sweet and spontaneous moment that reminded everyone of the joy and lightheartedness of the Games. In addition to inspiring viewers to explore the history of “biting the medal,” the photo became a meme sensation, with brands jumping in to create playful takes on the image.

Nike’s Debate Inducing Commercial

Nike’s Olympic spot, “Winning Isn’t For Everyone | Am I A Bad Person?” divided the internet. In one camp sat those who loved the idea of the sporting brand paying homage to the glory of unapologetic winners. In the other sat those who found the ad—and supporting campaign—antithetical to what being a champion is all about. Who was actually right was hard to pinpoint in the flood of industry think pieces and TikTok takes that ensued.

Disneyland Paris

After the intensity of the Olympics, what better way to unwind than with a magical trip to Disneyland Paris? The park became the ultimate post-Olympic destination for athletes and their families. From posing with Mickey Mouse to enjoying the rides, Disneyland Paris provided a fairy-tale ending to the Olympic journey. It was even sweeter for the entertainment brand Disney, which was not an official sponsor of the Paris Olympics.

The post The Best Marketing Moments From the 2024 Paris Olympics first appeared on Muse by Clios.