Hasta La Creative!

Em 2009, uma ideia infantil e aparentemente boba se transformou em um dos maiores cases da publicidade nacional. Em vez de discursos tediosos sobre sustentabilidade, a Fundação SOS Mata Atlântica e a (hoje extinta) agência F/Nazca Saatchi & Saatchi apostaram em algo cotidiano – e um tanto controverso – para conscientizar sobre o desperdício de …

Leia 15 anos do primeiro Titanium Lions brasileiro: como “Xixi no Banho” fez história na íntegra no B9.

AKA has partnered with Leith creative agency and the Scottish Government on a second installment of Be the Early Bird — a campaign encouraging early cancer detection among adults in Scotland. The original 40-second film, released in 2023, featured a cast of charming birds grappling with some all-too-human health concerns, and this year, they introduce a lively new character to the mix, complete with her own story arc.

Produced By

Studio AKA

Agency

Leith

Creative Team

Chris Watson,

Richard Thomson,

Rufus Wedderburn

Producer

Sarah Kenny

Client

Scottish Government

Animation Director

Kristian Andrews

Producer

Nikki Kefford-White

Editor

Nic Gill

3D Animator

Connor Ryan

CG Artists & Compositors

James Gaillard,

Vincent Husset

Rigging

Jerome Ferra

Production Coordinator

Sarah McDonald

Forget tariffs. Let’s talk about a far more vicious global trade war: The Burger Wars. 

They’ve been raging for decades, and the only casualties (beyond the cows, that is) have been society’s collective waistline and, occasionally, ad agencies’ good sense. 

Every burger brand has brought different weapons to the fight, and their arsenals have evolved significantly over time. Here’s your Burger Wars retrospective, courtesy of the AdLand archives. (Cue the Ken Burns music.)

Burger King – Make It Special for My Girl (1980) :30 (USA)

Once upon a time, burger advertising was simpler. Wholesome, even. The year was 1980, and the surprisingly touching brand message was brought to you by Burger King. 

https://adland.tv/burger-king-make-it-special-my-girl-1980-30-usa/ 

Over the next three decades, something—changed. 

BK / Burger King – The King's Gone Crazy – (2010) :40

The BK King, birthed by CP+B in 2004, was always unsettling. Eventually he went downright mad. 

https://adland.tv/bk-burger-king-kings-gone-crazy-2010-40/

Jack in the Box – Declaration of Delicious (2016) :30 (USA)

Amid the chaos wrought by the rise of BK’s creepy royalty, it’s little wonder that Jack in the Box chose to stick with its comparatively sane leadership for so long.

https://adland.tv/jack-box-declaration-delicious-2016-30-usa/

Wendy's – Where's the Beef x2 – Supervisor & Question – (1984) :60 (USA)

And then there was Wendy’s—a quieter burger combatant, whose greatest weapon was always pointing out the shortcomings of others. In 1984, the brand asked an important question:

https://adland.tv/wendys-wheres-beef-x2-supervisor-question-1984-60-usa/

Wendy’s – Iceberg – (2018) :30 (USA)

34 years later, essentially the same competitor-shaming tactics were being employed: 

https://adland.tv/wendys-iceberg-2018-30-usa/

(I guess there’s something to be said for playing the long game, given that Wendy’s at last surpassed Burger King in per-store sales in 2023.) 

Hardee's – Spicy Paris (2005) 0:30 (USA)

Meanwhile, every war has a wild card—a nothing-to-lose kamikaze-style fighter whose actual damage pales in comparison to the fear they strike in the hearts of their enemies. In the Burger Wars, that’s always been Hardee’s…

https://adland.tv/hardees-spicy-paris-2005-030-usa/ 

Carl's Jr – Bikini – Audrina Patridge / Teriyaki Burger – (2009) :30

Except, of course, when it was Carl’s Jr.

https://adland.tv/carls-jr-bikini-audrina-patridge-teriyaki-burger-2009-30/

Carl's Jr “Natural Beauties” (2015) :30 (USA)

But surely sex only sells for so long? Not according to Carl’s Jr., who eventually took the concept of food porn to a new level. 

https://adland.tv/carls-jr-natural-beauties-2015-30-usa/

McDonald's – Lonely Burger (2006) 0:30 (Canada)

And where, then, was the undisputed champion in all of this? Surely the never-truly-threatened dominance of McDonald’s was built on a foundation of never-wavering advertising wins?

Well, they weren’t all winners. Some were just—sad, really. 

https://adland.tv/mcdonalds-lonely-burger-2006-030-canada/

The UFC is the biggest MMA competition on the planet, bringing together the best fighters at each event and attracting millions of viewers. Alongside renowned global brands, all fiercely competing for space and attention. In this scenario, how can Bálsamo Bengué – also known as Bengay – stand out as the best solution for muscle pain and bruise relief?

In partnership with the Ultimate Fighting Championship, Bálsamo Bengué introduced the MMAds: the first-ever octagon sponsorship placed exactly at the pain spot. To make it happen, we used computer vision (Al.) and statistical analysis to process over 5,000 male and female fights from both the prelims and main cards in UFC history.

Based on this data, we identified the area of the octagon with the highest concentration of knockouts and submissions – in other words, where the pain hits hardest during a fight. And that's exactly where the brand was showcased, in a strategic spot seen by millions during a live UFC event, in Mexico City. Because where there is pain, there is Bálsamo Bengué.

Company

We

Brands

Bálsamo Bengué and UFC

Creators

Advertising Agency: We, Brazil
Title: “The MMAds”
CEO: Fabio Rosinholi
CCO: Armando Araujo
Executive Creative Director: Kleyton Mourão e Carlos Schleder
Creative Director: Otávio Mastrogiuseppe, Paulo Almeida PA
Creatives: Otávio Mastrogiuseppe, Paulo Almeida PA, Leonardo Brito e Humberto Pacheco
COO: Alexandre Ugadin
Account VP: Wesley Santesso
Account Director: Caio Cocozza
Planner VP: Gisela Toledo
Media VP: Gustavo Gaion
Head of Media: Julio Campos
Media Director: Tatiane Silvério
Media Manager: Almir Silva
Production VP: Camila Naito
Production Manager: Juliana Soares
Head of Graphic Production: Alexandre Borges
Motion: Gibran Sirena e Tiago Diel
Production Company / Animation Studio: Pé Grande Animation
Pé Grande Director: Gabriel Verdana e Felipe Galvão
Pé Grande Motion: Lucas Mori Flores
Sound Production Company: Bumblebeat
Bumblebeat CEO: Lucas Sfair e Henrique Tanji
Bumblebeat Account: Luisa Hackett
Approval: Marcus Sanchez e Cinthia Ribeiro
Technology Company: IDK
IDK CEO: Eduardo Augusto
Technology Director IDK: Lucas Henrique
Data, Development and Analysis: Time IDK

Campaign Timeline

March, 2025

Campaign Assets

Dear Media, a podcast company known for chatty celebrity and lifestyle shows, is also tapping into women’s interest in alternative health.

Brands tend to invest where they feel the safest and where there’s already mainstream recognition.

McCann Global Health, an IPG Health company is launching “The Direct Effect” for the Family Health Project (https://www.familyhealthproject.org/), a charitable organization out of Massachusetts, highlighting a program that provides first-time mothers experiencing poverty with direct financial donations of $400 monthly for three years, no questions asked.

The new film and redesigned website challenge the conventional wisdom around poverty solutions and encourage sustained donations. The goal with this new campaign is to provide $400 to sixty moms over a three-year period with the help of recurring donations.

Campaign Credits
Lead Agency: McCann Global Health, an IPG Health Company
President, McCann Global Health President: Briana Ferrigno
Executive Creative Director: Dov Zmood
SVP, Producer: Billy Diesel
VP, Account Director: Emily Carter
VP, Strategist: Diane Parrott
Director of Project Management: Melissa Curtis
Group Art Supervisor: Kamil Fedko
Art Director: Jessica Masur
Senior Account Executive: Abigail Allhusen

Media Engagement: Resolute, A Weber Shandwick Company
SVP Paid Media: Brittany Poblete
Sr. Associate Paid Media: Giovanni Espinoza

Production: Bryght YoungThings
Director: Mikayla Gamble
EP: Chelsea Greenwood
Founder: Daniel Navetta?
Head of Production: Steve Cozzarelli
Line Producer: Steve Oare
Sales & Management: Katie Northy / Talk Shop
?
Editorial: Bandit
Editor: Zeke O’Donnell
Edit EP: Laura Relovsky
Post Producer / Head of Production: Laura Cavenaugh
Assistant Editor: Chris McNinch
?
Color: Jared Rosenthal

Finishing: Nice Shoes
Flame Artist: Arthur Dorrington
Senior Producer: Paul Dekams
Head of Production: Andrew Pandolfino
Finish EP: Jason Farber
?
Original Music: Sonic Union
Composer & Creative Director: Zac Colwell?
Executive Creative Director: Halle Petro
Music Producer: Justin Morris
Music Supervisor: Julian Fader

Sound: Sonic Union
Audio EP: Pat Sullivan
Sound Designer & Mix Engineer: Julienne Guffain
Assistant?Engineer: Joey Glick

Teleflora and in-house Wonderful Agency lean on research and a heart-tugging soundtrack for Mother’s Day ad.

For the first time in the brand’s history, the Brawny Man has a face, a voice, and a fully realized persona.

CREDITS 

JOAN

CEO: Lisa Clunie

CCO: Jaime Robinson

Executive Creative Director: Mohammed Diaa

Creative Director: Tom Francesconi

Associate Creative Director: Jesse Stanton

Associate Creative Director: Curtis Caja

Art Director: Torie Sullivan

Copywriter: Zach Sterman

Deputy Head of Account Management: Francesca Goring

Account Director: Danny Alvarado

Account Supervisor: Mikaela Gatewood, Alyssa Calamari

Head of Strategy: Kristin Van Note

Group Strategy Director: Luke Dreyer, Beckly Lau

Strategy Director: Spice Walker

Senior Comms Strategist: Jenna Leahy

Head of Production: Cheri Anderson

Executive Producer: Chris Cort

Executive Producer: James Lawson

Associate Producer: Emily Cunningham

Group Social Strategy Director: Josh Druding

Social Client Lead/Producer: Clare Michalik

Social Creative Lead, Art: Emily Swenson

Social Creative Lead, Copywriter: RJ Kosineski

Senior Social Strategist: Kaileen Gaul

Project Manager: Annelle Schwarz, Grace Gandolfo

Business Affairs Manager: Ryan Delaney, Kara Driscoll

CFO: Renee Jennings

Production Company: Arts and SciencesDirector: Fiona McGeeActor: Brock Morse

As president, he helped persuade companies like Estée Lauder and Ford to advertise in the pages of the first mass-circulation magazine directed at Black women.