Work of the Week: 03/04/26
Missing People – Based on a True Story
Chosen by Sunna Coleman, reporter, Asia
Black humour and a celebrity cast expose how Britain's love for true crime is becoming a real-world problem. In partnership with BBH, NGO Missing People's 'Based on a True Story' challenges how audiences consume stories of disappearance and loss, and argues that real cases risk being reduced to entertainment commodities.
Set inside a writers' room, the film follows a group of producers, played by a cast including Paterson Joseph, Anna Crilly, and Rosie Cavaliero, as they insensitively dissect potential cases for entertainment value. All of the cases involved are real. At the end we see the families of missing people watching from the sidelines, forcing us to hold a mirror up to how we view these cases.
The campaign includes out-of-home executions that present case files marked up with flippant producer notes to visualise how easily real lives can be reduced to 'content'. The Responsible Narratives Charter was also launched to encourage creators to commit to more ethical storytelling. Finally, a physical box set titled ‘Top Five Cases You Won’t See On TV’ was sent to influencers – inside there was nothing, emphasising just how overlooked some cases are.
Loaded x Tackle – Little Known Facts
Chosen by Alex Reeves, managing editor, EMEA
Reading material is always welcome at a urinal. And I find it’s something I miss, particularly when a particularly grunty / whiffy / inebriated gentleman takes up a place at the one beside you and all you want to do is focus your gaze on something directly in your field of vision. These long-copy ads for prostate cancer charity Tackle and men’s lifestyle magazine Loaded could not be more welcome.
Not only are they witty, contextually clever and thoughtfully designed to reflect their audience, they also tickle my brain in the way the form mirrors the function. If you take enough time peeing to read the whole thing, it’s probably a good idea to get your prostate checked.
It also triggers nostalgia for the ‘90s in me. Even though I was a child during that decade and I don’t think I ever read Loaded, I’m loving the authentic dose of that cultural moment that comes through in the writing of founder and editor, Martin Deeson.
Cheetos – Pickle’s Back
Chosen by Anthony Gasowski, editorial assistant
In a project filled with surprise, GUT Miami brought together the unexpected music artist combo of Megan Thee Stallion and Nickelback to bring back Cheetos’ limited edition Flamin’ Hot Dill Pickle flavour.What seemed like an accidental miscue from Megan’s assistant quickly became a deliberately unhinged, yet clever solution that fulfilled her request. The hard rock band not only helped Megan smuggle the chip bags in a high-stakes heist, they also remixed their 2001 track ‘How You Remind Me’, blending it with the rapper’s iconic ad libs and bars of her own to ignite the celebration of the flavour’s return.It’s a music duo you’d never expect to work together, but there’s something about this collaboration that works. The clash of these two distinct music genres creates a connection between generations through a snack that feels just as bold. It’s a reminder that sometimes the strangest combinations end up making a campaign stand out if done well.
Sea Cleaners/JC Decaux – Reverse Media Schedules
Chosen by Olivia Atkins, craft editor, EMEA
This idea cleverly reframes the problem of understanding media value by addressing the issue of litter as being the worst outdoor ad. Dentsu Creative Australia turned debris into direct brand accountability, making beach cleans feel altruistic while also acting as smart marketing. Conservation organisation Sea Cleaners and JCDecaux created a tangible and purposeful system where brands can actively reverse their negative ad impressions while funding real-world impact. It’s a rare example of marketing solving a real issue without losing sight of commercial reality, meaning brands' self-interest can finally align with environmental good. It's proof that when the creative is executed with consideration, it can inspire behavioural change and drive actual business value.
CORNETTO – UNWRAP THE SUMMER
Chosen by Cathy Meyer-Funnell, reporter, EMEA
We have reached the time of year when the topic of summer holidays inevitably starts to crop up. Whether you’ve already booked one or (like me) are simply dreaming about lounging on a beach somewhere warm with a good book, Cornetto’s latest campaign instantly transports you into the lazy, sunny, dreamy world of the holiday. Developed by LOLA Madrid and photographer Sam Youkilis, each snapshot perfectly conveys those coveted days when time seems to stand still and you can just be, watching the world go by. The composition of the pictures showing a day at the beach is beautiful and extremely clever, managing to look both carefully constructed and casually thrown together at the same time - you can already feel the breeze in your hair and the sand between your toes. The Cornetto name in foil underneath is another really lovely detail. Even if you’re not packing your bags just yet, you can always enjoy an ice cream on a sunny afternoon.
Shield Insurance Broker – After Shit Happens Service
Chosen by Zara Naseer, writer, editorial strategy
Thai advertising has long been a favourite at LBB, and this campaign from VML Thailand demonstrates why. The team has managed to make insurance advertising fun, with a comical compilation of disasters set to a song I’ve been singing all morning.
’After Shit Happens Service’ for Shield Insurance Broker is absurd, joyful, and entertaining, seizing on the moment micro-dramas are currently experiencing on social media. The hard-sell format repeats itself ten times, and yet, somehow, I smiled through all 10 minutes of it. Personal highlights are the limitless facial expressions of the main character, the comic timing of the sheet of paper at 08:19, and the beautifully executed action replay in the seventh film.
The RealReal – L’ultimo Uomo Reale
Chosen by Abi Lightfoot, reporter, Americas
Inspired by the authentication process of online luxury reseller, The RealReal, Team One and director Sebastian Strasser launched a film exploring the value of authenticity within a world that consistently forces us to question reality.
Titled ‘L’ultimo Uomo Reale' ('The Last Real Man'), the film begins in a world that feels convincingly human, intertwined with culture and everyday behaviour. However, as the narrative continues, reality begins to fragment, causing audiences to sit up and look more closely, questioning if what they see on screen is truly grounded in normality.
Far from feeling like a brand trying to shoehorn AI filmmaking into its advertising, this campaign aligns with The RealReal’s brand identity and belief system, offering an insightful yet entertaining perspective around the importance of upholding true authenticity and craft.
Bank of Ireland – Right There With You
Chosen by Laura Swinton Gupta, editor-in-chief
This industry loves to jump from shiny trend to shiny trend like a magpie with ADHD, but, people, look what you can achieve if you just get the basics down. Funny writing, perfectly directed performances. Get them right, and they do so much heavy lifting, cutting right through to the audience. A middle-aged woman embraces her inner Liam Neeson as she takes on a phone scammer, signing off with a killer (and very Irish) final line. A wee lad finds his swagger with a kids' account. A rugby team saves enough money for a slap-up meal by cancelling all their redundant subscriptions. And a family run bakery business mixes ‘Succession’ with soda bread. This suite of ads for Bank of Ireland from Folk VML, prod co Butter and director Lorcan Finnegan isn’t reinventing advertising, but I’ll tell you what, I think it’s nailing it.
Pedigree – Best Friend AI
Chosen by Laura Swinton Gupta, editor-in-chief
Lots of AI campaigns this week; some made it into Work of the Week, and a good few didn’t. What separated the yeah from the meh? Well, it helps when AI isn’t deployed as a cost-cutting exercise, but it’s integral to the idea. More than that, the work itself uses AI but engages in some kind of critical conversation around it. And, most importantly, it serves the brand and audience.
So, here we have Pedigree, which has been engaging in AI and data-driven campaigns for a while, making the point that AI chat platforms can never truly be your friend while using it as a tool to match people with man’s best friend. Here, the bot can assess your needs and living situation and match you directly with dogs in need of a home in your local area. The platform has been created for the Brazilian audience by AlmapBBDO, but do have a go with it. It can understand any language, and chuck in a random Brazilian zip code, and you can see it connect with suitable dogs via the Instagram accounts of nearby shelters.
1664 – Unquestionably Good Taste
Chosen by Zhenya Tsenzharyk, managing editor
Just last week we travelled to Paris with Chanel and multiple Margot Robbies and this week we're back in the city of impeccable taste with many a Robert Pattinson, leading me to conclude that the 1664 spot is 'Chanel for boys'. I joke, of course, and the spot – directed by Brady Corbet through magna studios with creative from Fold7 – very much stands by itself.
With a hint of Wes Anderson-esque whimsy, Robert Pattinson displays the myriad expressions of good taste and modern style in the cinematic film. Playing three chicly-outfitted characters, the many Pattinsons get on each other's nerves in close quarters of a grand Parisian apartment building. They can't agree on what good taste is, except the taste of 1664. Quick cuts and close-up shots make the most of Pattinson's comedic performance and charismatic presence while the camera captures sumptuous set details signifying good taste. Brady is reunited with his 'The Brutalist' cinematographer Lol Crawley for the film, echoing how the two captured interiors and architecture in the Oscar-winning epic.
Having said all that, it ultimately ticks one of my favourite boxes for commercial filmmaking, charm, which it over-delivers on.
Aerie – 100% Aerie Real
Chosen by Tara McKerr, reporter, Americas
Not having encountered the brand before, this ad was very much a first impression of Aerie. And what a good one it was. Fronted by none other than Pamela Anderson, the casting couldn’t feel more perfect for a campaign about authenticity. Pamela’s version of which has manifested through a physical act of defiance against beauty standards in recent years, through her decision to go bare-faced.
For most of her career, the ‘Baywatch’ actress has been the recipient of hypersexualisation, so flipping the script has felt like a standout moment in embracing an anti-standard for women. This campaign by Aerie borrows Pamela’s reputation for authenticity, as it pledges never to use AI models. The latter half of the film isn’t necessarily a hard hitter, but it is perfectly suited to a brand that is light and ‘Aerie’. And to make a public pledge in the face of such mounting pressure to use the cheaper AI model alternative, especially as household-name brands opt out of ‘real’.
McDonald’s Netherlands – Shortcuts
Chosen by Jordan Won Neufeldt, reporter, Canada
I have a great appreciation for the clever, insightful nature of this OOH campaign. Desire lines (pedestrian-formed trails) have long been a facet of urban areas around the world, but TBWA\NEBOKO’s decision to spotlight ones pointing to various McDonald’s locations is brilliant. What better marketing for a QSR is there than to show that people will literally create their own shortcuts just to get to your offerings faster? No need to highlight limited-time deals, promotions or exciting menu items when you have the very actions of the public working in your favour. It’s the ultimate endorsement, and, incidentally, it also makes for some very aesthetically pleasing ads.
Honda - Smooth Sailin’
Chosen by Addison Capper, managing editor, Americas
Special Australia has demonstrated the Honda CR-V's silky smooth drive by means that take me back to Volvo Trucks' iconic 'Epic Split'. Shot in a single take on a country road, the film sees The Isley Brothers’ ‘Smooth Sailin’’ play from a 50-year-old record player strapped to the car’s roof, with audio captured live and skip-free through the vehicle’s internal Bose system, the entire process refined over a number of weeks. It’s subtle and restrained in tone, but the work that’s gone into making it feel that way is anything but. NB: Click through to the story via ‘read more’ above and check out the BTS video.
Griffin's - Life Needs a Biscuit
Chosen by Tom Loudon, AUNZ reporter
'Life Needs a Biscuit', a brand platform comprising 24 micro-documentaries directed by filmmaker Florian Habicht, offers an intimate portrait of New Zealanders’ daily lives.
Developed with Motion Sickness, which won the creative account last year, the campaign is a departure from a conventional brand platform. There are no actors, no storyboards, no scripts: just real New Zealanders in moments of work, rest, and connection.
A Northland rugby team shares a post-match ritual, an immigrant works a night shift, a miniature horse racer prepares for competition. Each vignette places the brand within the fabric of real life, not as a hero but a quiet companion.
Designed with a long-term strategy in mind, the media plan for ‘Life Needs a Biscuit’ will span three to four years, with the 24 assets cycled across TV, digital, and social.
The approach allows the platform to evolve with the algorithm, each film finding its natural audience as viewers encounter slices of New Zealand life that may sit outside their own experience.
'Life Needs a Biscuit' suggests the most effective way to build affinity is simply to pay attention -- to notice how people actually live, and to trust that the connection will follow.
