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Which Ads Ruled the Super Bowl?
The good. The bad. The chaotic. Our writers break down the tape.
Advertising’s biggest day has come and gone, and we’ve been all abuzz with what went on between game action last night (because let’s face it, anything was more exciting than that snoozefest of a game). Super Bowl LX blessed us with all types of ads, such as ads for AI, ads making fun of AI, and even ads for AI that made fun of AI. But despite the AI excess, there was still a wide range of advertising approaches — from absurdist humor and celebrity cameos that capture the cultural zeitgeist, to cinematic restraint and concept-driven storytelling.
We asked three of our writers to share their standouts — exploring how today’s brands are balancing big entertainment with uncommon brand impact.
Spencer Roth-Rose
Senior Copywriter, Campaigns
Spencer is a senior copywriter for campaigns at Prophet. As a New England native, he really misses Tom Brady right about now.
Big Stage, Bigger Pivots
The spotlight of the Super Bowl is a perfect excuse to double down on your brand identity. And whether it’s the annual Budweiser Clydesdale show or the latest chapter in Dove’s campaign for body confidence, this year’s edition definitely played some of the hits we’ve come to expect. But I couldn’t help but notice that it seemed like more brands than usual were pushing something new: new markets, new products, new category pivots. Is using the biggest night in advertising as a brand transformation milestone a smart play, or is it a gamble that might be regretted a year or five down the line? The following brands have a lot riding on the answer.
Fanatics
Video Source: YouTube / Fanatics
What better way to grab eyeballs for your sports betting product than during the biggest sports betting event of the year? Fanatics, better known for its sports merchandise and collectibles, showed up big on Sunday with 90 seconds of a self-aware Kendall Jenner poking fun at the “Kardashian Kurse” meme and reinforcing Fanatics as a shiny, new-ish face on the sportsbook block. It’s a bold splash, and a major bet that it can successfully leverage its existing sports fan relationships to continue making a dent in a very crowded category. Luckily, the spot itself hits, with laughs, glitz, and a single, high-concept idea (a Big Game rarity these days) that effortlessly speaks the language of the target audience — and made the less sports-inclined at the Super Bowl party sit up and take notice.
Kinder Bueno
With a $100 million spend between the Super Bowl and World Cup this year, Luxembourg-based confectioner Ferrero is making no mistake: it wants to become a household name on this side of the pond. The 30-second buy at the Super Bowl was Kinder’s biggest U.S. cultural investment to date as the company seeks to compete with Hershey and Mars in the long-entrenched American candy landscape. But did the spot itself, for the Kinder Bueno chocolate bar, pay off? Starring media personality Paige DeSorbo and Guy-Who’s-In-Stuff William Fichtner in a chaotic sci-fi disaster, it was a bit of a mess — but at least the campaign tagline “Yes Bueno” (a play on “no bueno”) nods nicely, if not accidentally, to the multicultural origins of the brand. Chocolate does, after all, taste the same in any language.
Liquid Death
Liquid Death participated in its second straight Super Bowl — just in time for its largest category expansion ever. The beverage disruptor is betting that its “better-for-you” energy drinks, which hit the market last month, can capture energy drinkers who are already loyal to the brand. But how did its irreverent brand voice translate into the hype-fueled and crowded energy drink market? Pretty well, actually. By calling out how its Sparkling Energy drinks have, well, a normal amount of caffeine versus the overloaded competitors via a fun exploding-head metaphor, Liquid Death is showing that its brand voice is deft enough to flex to a more mainstream audience — while still retaining its edge.
Hannah Anderson
Senior Associate, Verbal Branding
Hannah is a senior copywriter that’s been cheering on Advertising’s biggest night for years, but shamelessly flipping back to the Puppy Bowl between the “football” breaks.
Celebrity Voice, Meet Brand Voice
Much of Sunday’s ad lineup was a celebration of silliness, slapstick, and shtick, as absurdist escapism and social media-esque “brain rot” continue to infiltrate corporate strategy. And the vehicle of choice? Celebrities. Lots of celebrities.
Listening closely, I’ve noticed that the most effective shenanigans share a common thread: scripts built around the distinct personas of the celebrity(s) in the spot. When the humor aligns with their reputation, it helps justify why they’re in the ad to begin with. These spots also land best when the punchline connects back to the brand or product strategy cleverly and clearly.
Hellmann’s
Video Source: YouTube / Hellmann’s
Choosing a known-for-nonsense comedian for a full-fledged parody makes total sense, so I see where Hellman’s was going with this one. However, as I listened to Andy Samberg, AKA “Meal Diamond,” belting out punny lines like “sweet sandwich time” and “ham touching ham,” I felt the spot begin to drown in its own chaos. The product itself got lost somewhere between the joke lyrics and the escalating spectacle. By the time I reached the endline, “it’s sandwich time,” it felt as ancillary as the two-second Elle Fanning cameo. Looking back, I couldn’t help but think last year’s “When Harry Met Sally” reference depicting a mayo-fueled foodgasm “hit the spot” a little more clearly.
Bud Light
The teaser introduced its celebrity trio and established the campaign’s voice. In a wedding guest carpool, Peyton Manning, Post Malone, and Shane Gillis fall into an easy, conversational rhythm that feels more like a podcast than a commercial. It’s loose, unfiltered, and uncensored, creating humor that’s driven by personality — not plot. Post brings a breezy goofiness — “tapping the keg” — that sets the playful baseline. Shane adds comedic riffs like “a little tippy tappy,” giving the dialogue a scrappy, improvisational feel. And Peyton’s earnest, dad-next-door delivery (“my favorite part right here”) grounds the trio with a tone that’s warm rather than polished.
In the prime-time spot, “Keg,” the brand trades in bro-down banter for situational absurdity, as the entire wedding party hurls itself down a steep hill after their light beer supply. And while dialogue is minimal, personalities stay sharp: from Peyton’s sincere “First beer of the wedding” toast to Shane’s dry “I give it a week” close. The spot grounds slapstick chaos in an established chemistry that not only pays off the escalating absurdity, but makes the tone feel cohesive and unmistakably Bud Light.
Instacart
Where Bud Light’s ad felt tailor-made for its cast, Instacart’s “Half Brothers” approach to voice felt only half-natural. On one end, Ben Stiller’s character plays something like an ‘80’s-era cocktail of his Dodgeball and Zoolander personas — bold, clueless, and self-absorbed. Meanwhile, Benson Boone’s presence, though loosely tied to his sense of showmanship, feels more like a generational nod to younger viewers than a true match with Stiller’s unbridled energy. Add the accents and stage-trick flip-off, and the connection to the brand drifts even further. The message of “Choose your bananas” gets swallowed by slapstick spectacle and unrelated chaos — no matter how impressive the gymnastics might be.
Bella Courtenay-Morris
Director, Verbal Branding
Bella is a verbal branding expert at Prophet and ex-agency writer — she grew up watching rugby and only watches the Super Bowl for the halftime show and the ads.
When Less is More (Memorable)
As Hannah and Spencer noted, we saw a lot of celebrity cameos, musical performances, stunts, and shock value — often, all at once. Many brands took a maximalist approach to attention-grabbing, one that I worry prioritizes the “wow factor” over a winning message. Despite star power, color, and chaos, when you blur your eyes, it’s easy for one ad to bleed into the next. The tradeoff of this nonsensical maximalism is “attribution loss.” Viewers remember the joke or the celeb, but not the brand.
Amid the sensory overload, emotional storytelling with cinematic restraint became radical. Those who stripped away the spectacle to focus on a singular, driving concept may have a higher chance of brand recall in the days to come. Or better yet, audiences might even be compelled to make a purchase. From talking toilet lids to heartfelt intergenerational moments, a few players caught my eye — not by doing the most, but by doing less with more conviction.
Anthropic – Claude
Video Source: YouTube / Anthropic
I had high hopes for the OpenAI spot this year, but instead, its rival’s Super Bowl debut caught my attention. Anthropic chose the biggest advertising stage to poke fun at how annoying advertising can be. No celebrity or showmanship, just a clearly scripted competitive dig. The spot hinges on the simple insight that ads in AI conversations aren’t fun. In fact, they’re pretty dang disruptive. By parodying a typical chat conversation interrupted by unrelated marketing schemes, Anthropic positions Claude as the anti-ad chat service. I do wish they kept the spot to the single defiant promise from the pre-released versions, “Ads are coming to AI. But not to Claude,” rather than adding the slightly longer explanation, “There is a time and a place for ads — and AI conversations aren’t one of them.” Regardless, this spot is a great reminder that sometimes it’s just as effective to highlight what you don’t do to position your brand favorably.
TurboTax
I’m not suggesting that cameos and cinematic restraint are a tradeoff. Especially when casting makes sense for the brand. In its teaser, TurboTax led with (and repeated) a singular message: “I can handle that for you.” And in the aired spot, Academy Award-winning actor Adrien Brody brings the drama, preparing for his new role as a tax expert. But to Brody’s confusion, it’s revealed that TurboTax takes the drama out of doing your taxes. The juxtaposition of a serious drama actor trying to make sense of drama-free taxes resonated. And this core idea, central to its brand identity, is repeated in various ways (à la, “We take the pain out of taxes, remember?” or “Sorry Adrien Brody, now taxes are drama-free.”), making it stick. Will more people turn to TurboTax this tax season? I’m curious to see.
Budweiser
In my mind, Clydesdales = Budweiser. And the brand returned again to its go-to symbol in this year’s spot. While it may be expected, the brand isn’t trying to reinvent the wheel. Instead, Budweiser continues to cement its reputation for heritage, quality, and tradition as an “American Icon,” tying its own iconography to the bald eagle. Using the musical backdrop of Lynyrd Skynyrd’s “Free Bird” and a cinematic Americana aesthetic, the spot shares an emotional story of two “buds” growing up together. This unlikely friendship makes sense for the brand. And despite no copy or voiceover until 50 seconds in, the simplicity, emotional resonance, and brand fit made the “Made of America” message memorable.
OUR FINAL HANDOFF
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