Super Bowl LX in Santa Clara, Calif., was a decisive win for the Seattle Seahawks over the New England Patriots. But what about the other battle–on the advertising gridiron- which the game interrupted from time to time?
Advertisers paid a premium–some $8 million on average for a :30 commercial time slot on NBC–to reach a mega audience. And a handful of slots sold for $10 million-plus, an all-time record.
Yet while the eyeballs were there, did the commercials as a whole do enough to merit and hold consumer attention while building brand and business?
To put it all into context, SHOOT enlisted a cross-section of creative directors and savvy content makers on the agency side, steering clear of those who had a special interest or a particular axe to grind in assessing ad fare on the Big Game. SHOOT sounded out creative artisans whose agencies did not have any commercials on this year’s Super Bowl so as to get unvarnished, apolitical takes on the advertising.
Here’s a sampling of the feedback we received:
Alex Abrantes
Alex Abrantes, chief creative officer, Iris, shared a succinct assessment: “The spots that rose above the noise didn’t simply buy attention, they earned it. The difference was storytelling, not just within thirty or sixty seconds, but within the larger narrative of the brand itself. The ads that lingered were the ones with a right to speak, a strategy to stand on, and the craft to match the price tag. Because in the Super Bowl, memory is the real media buy, and audiences always know when you’ve invested in it. And the smartest investment wasn’t only the slot, it was the craft.”
Shanky Das
Shanky Das, co-founder/chief creative officer of TILT, put the Dunkin’ and OpenAI Codex spots as among his Big Game favorites. Of Dunkin’, he said, “It’s hard to do a great spoof TV commercial. So, getting close is good enough. What Dunkin’s ‘Good Will Hunting’ did well was line up with the audience they’re after. No, not the TikTok-loving lot. Their parents. They also packed it with surprising celebs, brought them in during unexpected moments, gave them all a role to play, and even tied it back to football with [Tom] Brady’s inclusion. Point is, it was all an overload, but the kind that made us all think of Dunkin’ at a time when not many of us do.
Of OpenAI Codex, Das assessed, “It wasn’t yet another ‘let’s change the world’ story. Yet it was. While many other spots leveraged big names, Codex took you through the journey of being a creator, an innovator, and a dreamer. Didn’t matter if you missed the mark in life even, it made you think of what could be, and it did it with energy and an emotion that’s universal to all. Everyone’s trying to own AI. This one said, you can too.”
As for commercials that missed the mark, Das observed, “Plenty did… Especially Lay’s. We know what they’re trying to do, but we expect the best potatoes in our chips. But all we really want is a bag of chips that tastes great and doesn’t cost an arm and leg and provides consistent quality. Growing potatoes are a story but not worthy of Super Bowl air time.”
Regarding trends and themes, Das cited, “Lots of emotion and straight storytelling. Plenty of celebrities and endorsements. Plenty. Too much maybe.”
Overall this year’s crop of Super Bowl advertising, concluded Das, “wasn’t high on creativity. It was high on celebrities. Long-winded storytelling was a theme but not many landed the punch. Other than the Budweiser bald eagle spot.
Will Dean
Will Dean, executive creative director, McKinney, laid out the big picture for the Big Game, observing that “making a Super Bowl ad is hard. There are things that the people are expecting. Celebrities, dogs, celebrity dogs, nostalgia, patriotism, and some attempts at making us feel something. There’s so much thrown at us at once. It all bleeds together and we come away truly remembering only a handful. Aside from the super-crowded stage, there’s also the risk that brands take by investing so much money on such a short piece of content. Every decision in the production process becomes scrutinized which is why so much work defaults to safe, middle-of-the-road ideas designed not to offend or confuse anyone.
“So how do you stand out and make something truly memorable? Something that grabs people’s attention and gets them talking the next day like I am right now? This year, it was the ones that took real risks — not just weird for weird’s sake, but by stubbornly committing to a single thought and running with it. Going all-in on a simple premise and making it overly dramatized, with wildly creative visual and musical execution.”
Meeting this high bar, several spots made Dean “jealous,” starting with Instacart which he described as “a masterclass in taking one simple thought and fully committing to it. The thought: Instacart has new ways of shopping for groceries where you can be more specific about what you want. That translated into an even simpler, more specific thought: Instacart lets you choose your bananas. From there, they wrapped that simple thought in creative, humor, and joy.
“We get a Spike Jonze–directed daydream: two brothers performing a synth-rock song called ‘Instacart Lets You Choose Your Bananas’ on a 1970s Italian TV show. They’re locked in a brotherly rivalry, each trying to outdo the other to make their father proud. Papa! The song is like Safety Dance, but catchier. People in fruit and vegetable costumes dance on an insanely well-designed retro digital set. The casting is weird. It ends with a failed backflip off a stack of amplifiers.
“Oh–and the brothers are Ben Stiller and Benson Boone. Every visual and musical detail is thought through. Yet, all of it in service of driving home one ridiculously simple idea: Instacart lets you choose your bananas. Fantastico.”
Dean also praised the Squarespace spot, “another great example of a simple idea, aggressively over-dramatized. The thought: People need to get their URLs while they’re still available. Squarespace has them. That’s it.
“Somehow, through the brilliant creative spin on it, the scene becomes a strange, black-and-white, arthouse-style film that takes place on a weird island. Emma Stone is trying to register a URL. It’s taken. She’s frustrated. There’s very little dialogue. Lots of yelling. Extreme close-ups of her eyeballs. Every time her URL is taken, she smashes a laptop–but in the most dramatic, overwrought way possible.
“It’s a hyperbolic translation of a universally relatable moment.
“Compare that to Wix’s Super Bowl ad — a bland explainer video about making a website to sell furniture — and Squarespace feels like the Seahawks to Wix’s Patriots. (Sorry, Lyle).”
Next on Dean’s hit parade is the work for Liquid IV. “Again: one thought, taken all the way. The thought: People are more dehydrated than they realize.
“So how do you encourage people to check in with themselves and see if they are dehydrated? You make a montage of singing toilets belting out Phil Collins’ ‘Take a Look at Me Now.’ That feels like something that shouldn’t exist. And yet, there it was. Though, given that there was also an ad featuring singing balls of discarded body hair this year, maybe that’s just where we’re headed.
The beige middle
Then, related Dean, “There were several ads that didn’t really hit or miss–they just kind of existed.
“Because the Super Bowl is ‘everyone’ watching, some ads start weak and end weak. The ones that fell flat were the manufactured, supposedly heartwarming stories that felt unmistakably like ads: Toyota, Lay’s, Rocket Mortgage.
“They all tried to tug at the heartstrings, but the way they were shot made them feel staged and overproduced. They didn’t invite me in–they reminded me I was being sold to. If you’re trying to go heartfelt now, maybe the way is realer, less polished, and less expected.”
A couple of whiffs
“There were also a couple of outright misses,” continued Dean, citing Coinbase’s rendering “all-text version of a Backstreet Boys song. I spent most of the spot trying to figure out the connection between the song and the product.
“Then I realized: there isn’t one. It’s just a gimmick. And the moment that clicks, it feels like Ralphie in “A Christmas Story” on the toilet realizing he’s been decoding a ‘crummy sales pitch.’”
Also whiffing was SVEDKA which ran an all–AI-generated spot featuring cyborg bartenders dancing. Dean observed, “I’m not sure anyone watching thought:
“Great job, AI, glad you were able to replace people,” or
“I’d really like to try that AI-robot vodka next time I’m out.”
“As I said, making a Super Bowl ad is hard.”
Themes/trends
As for themes or trends, related Dean, “AI was everywhere, of course, with brands trying to show how human they are. Claude kept things simple and clear, subtly positioning itself against ChatGPT’s upcoming ad-supported model. They went with a humorous tone. Codex leaned into human potential — a montage of thinking and doing, brought to the brink of a new era with AI tools. Google Gemini took a sweeter approach, showing a kid previewing his new bedroom to soften the blow of moving.
“What worked best for me were the moments that didn’t show people typing on keyboards or staring at chat windows. The shots of the kid–not near a phone or computer–were the most human moments in that Gemini spot, and they actually lowered my guard a bit.
For Claude’s Super Bowl entry, Dean shared, “Visually, I also noticed the use of a 2:3 aspect ratio, something I first saw in the film Train Dreams. Advertising tends to follow film, and sure enough, it showed up in a few ads this year. It stood out immediately–a nice break from the usual 16:9 or anamorphic ‘anthem’ look we’re used to seeing so much of.
Final take
“2026 leaned heavily on familiar Super Bowl tropes, but I still think it was a stronger group than last year’s,” concluded Dean. “Maybe that’s because I watched more closely, knowing I was going to write about them.
“Most were still ‘meh’–ironically including Jason Kelce’s ‘meh beard’ spot for YouTube.
“There’s just so much to take in, and not much of it sticks.
“But a handful genuinely thrilled me. Instacart. Squarespace. Liquid IV. A few others.
“They were unique, joyful, and visually inventive — without losing sight of a simple, clear idea. One thought, overly dramatized in wildly creative ways. And that’s the sweet spot.
“There’s still room for that kind of joy on Super Bowl Sunday. If you’ve got $10 million and a great creative team.”
Mark Feldstein
Mark Feldstein, president & partner, Studios at Known, identified his favorite Super Bowl spots sharing, “Squarespace, Fanatics, and Skittles are the rare trifecta this year in my opinion. All three are smart, self-aware, and built for culture. Fanatics uses talent the way the modern sports world uses talent. Not as decoration, but as currency. Bringing in Kendall Jenner is a culturally relevant choice that taps into the intersection of sport, culture, and influence. After all, the athlete–fan dynamic isn’t just a relationship anymore. It’s an economy, and Fanatics plays right into that.
“Squarespace’s Emma Stone film is a standout that’s elegant, cinematic, and ruthlessly simple in its message. In a night full of noise, it whispers and still gets heard in a big way. And Skittles uses celebrity to fuel its trademark (and beloved) weirdness rather than distract from it.”
Missing the mark, said Feldstein, “were the brands that thought celebrity alone would be the answer: Verizon (Kevin Hart) Instacart (Ben Stiller and Benson Boone) Nerds (Andy Cohen). You can practically feel the boardroom logic: ‘Insert famous person, achieve virality.’ But the modern viewer is too smart for that. If your celebrity isn’t adding meaning, or at least making us truly laugh, you’ve spent $8 million to rent someone else’s relevance.
Regarding trends/themes, Feldstein observed, “The industry feels split down the middle this year: half the ads trying to win Cannes and the other half trying to win TikTok. The smartest work does both, combining cinematic craft with just enough self-aware chaos to feel culturally relevant.”
Feldstein concluded, “I’d give this year’s collection a solid B overall. A handful of hits surrounded by a lot of expensive wallpaper. The work that won kept the idea sharp, used talent with intention, and stayed connected to culture. Everything else simply felt like brands justifying the price tag rather than earning our attention.
Will Gelner
“As expected, AI dominated the lineup. What wasn’t expected was just how forgettable most of those ads were (insert your favorite AI slop joke here). A lot of them felt like the technology was doing the talking, not the idea,” assessed Will Gelner, chief creative officer, The Shipyard.
“The clear exception was Anthropic’s Claude. Smart, funny, and flawlessly crafted. Loved the creepiness. Hands down, my favorite thing on the Super Bowl. Not just among AI ads, among all ads.”
As for spots that missed the mark, Gelner observed, “The Super Bowl isn’t a TED Talk. It’s an emotional event. Make me laugh. Make me cry. Make me feel. Anything.
“Too many brands forgot that and showed up with what felt like explainer videos dressed in Super Bowl clothing. Wix, Google, Ring, Ro. Each went heavy on features and rational proof points, but came up light on feeling. In the biggest emotional moment in advertising, facts don’t move people. Storytelling does.”
Relative to trends/themes, Gelner related, “Let’s be honest. The world feels a little off its axis. So it makes sense that the ads reflected that. The pendulum swung hard to the extremes.
“On one end, full-tilt absurdity. Instacart gave us Ben Stiller as a random techno-disco banana crooner. Manscaped delivered sentient hairballs singing a breakup song. Liquid I.V. went all in with a singing toilet.
“On the other end, brands sticking with the familiar. Food delivery apps in particular kept returning to well-worn jokes. Grubhub had George Clooney repeating ‘Eat the fees’ in hopes it would land through repetition. It didn’t. Uber Eats doubled down on the food-as-conspiracy gag that’s been running all season across NFL broadcasts. Familiar, yes. Surprising, no.”
As for how he’d grade this year’s overall crop of Super Bowl commercials, Gelner said, “First, it’s worth saying this: just making a Super Bowl ad is a massive win. The planning, the pressure, the insane hours, the weekends, the competition- it’s a grind. Full respect to every team that got something on air. As for grades? Claude gets an A. Everyone else gets a sincere high five for surviving the gauntlet and making it to game day. Y’all rock.”
Rikesh Lal
Rikesh Lal, executive creative director, Erich & Kallman, pointed to Manscaped’s “Hair Ballad” and the work of Liquid Death as among his favorites. Of the former, he quipped, “I’m a sucker for good songs and furry little characters. This had both. Of the Liquid Death spot, Lal assessed, “It’s a smart way to push off the caffeine-maxing culture and they did it with a real doctor. It was an extreme way to show an unextreme drink.”
Asked about trends/themes in this year’s crop of Super Bowl spots, Lal said, “While there were a few heartfelt but unclear ‘we’re-divided-more-than-ever-our-brand-can-unite-us’ ads, they got lost in the excitement and fun of the ones that mined nostalgia and celebrity. What’s clear is that wacky humor always wins out. Spots like Hellman’s, Manscaped and Liquid Death proved that funny will always break through. Even Novo Nordisk got in on the humor, deadly side effects and all.”
Overall, Lal gives this year’s Big Game spots a grade of B-minus. “It felt more like they were running on good vibes vs good ideas. I wish there were a few more that really got bold and broke through.”
Chelsea Matthews
Chelsea Matthews, VP, creative, Tux Creative House, remarked, “I tend to gravitate toward work that’s simple and clever. With that lens, a few stood out.” They were:
–TurboTax with Adrien Brody
“Where this spot starts and where it lands are completely unexpected. Adrien Brody showing up in a TurboTax ad was not on my bingo card, but that’s exactly why it works. They lean into his acting credibility and street-level gravitas, then cleverly blend it into the integrity and seriousness of their service. It felt confident without trying too hard.”
–Liquid I.V.
“I appreciate a brand that takes you straight to the point, even if that point is…what color is your urine. The operatic toilet bowl opener was absurd in the best way, and I genuinely had no idea what brand was behind it until the reveal. The surprise made it memorable, and the clarity of the message landed.”
–Volkswagen – “Drivers Wanted”
“This felt like a return to form for VW. Energetic, slightly cosmic, and rooted in the idea of everyday adventure. It felt culturally relevant both in its cinematic language and in how it speaks to their consumer. Confident, optimistic, and very on-brand.”
–Levi’s – “Behind Every Original”
“Full disclosure: they’re a client, so I’m biased. But I’ve loved how this campaign has been unfolding beyond the broadcast moment, especially across social. The casting is excellent, the storytelling feels intentional, and the way individual stories are being unpacked in real time shows a smart understanding of how Super Bowl work now lives long after game day.”
–RealFood.gov (Mike Tyson) and the NFL’s “Belief Is a Superpower”
“I’m always drawn to simple moments paired with a strong, clear message. These didn’t overcomplicate the idea and trusted restraint, which felt refreshing.”
As for ads that missed the mark, Matthews cited:
–Poppi
“I know this might be an unpopular opinion, but hear me out. I loved the creative execution and the casting is undeniably strong. Where it fell short for me was in its connection to the product itself. It felt more like a headline grab than a reinforcement of the brand’s actual proposition or functional benefits. I walked away remembering the moment, but not necessarily the why.”
–Backstreet Boys (Coinbase + T-Mobile)
“It’s impressive to have two Super Bowl moments in one night, even if one was karaoke. That said, neither fully landed for me. Coinbase had slightly more relevance through the lyrics, but both spots ultimately felt staged and forced. The T-Mobile execution, in particular, leaned too heavily on a rewritten gimmick without enough brand or cultural payoff.”
On the themes/trends front, Matthews felt “a few clear through-lines emerged” this year:
–”Celebrity overload. Celebrities are nothing new, but it felt like most spots featured two to four per ad. Impressive. Expensive. Occasionally distracting.”
–”A lack of cultural dynamism. Both in casting and brand perspective, the work felt safer and less rich than expected. On one hand, that feels reflective of the current climate. On the other, it was surprising given how culturally charged this moment was overall.”
–”Retro aesthetics. Dunkin’ and Instacart leaned into vintage, tube-TV-style visuals and throwback energy. I was surprised to see this aesthetic show up more than once.”
–”AI everywhere. No shock here. AI continues to be a dominant narrative both baked into creative spotted and within it’s own campaigns, like Anthropic and OpenAI.”Health as wealth. From GLP-1 conversations to prostate cancer testing, there’s a noticeable shift toward more accessible, empowered health communication. Brands are getting better at talking about wellness and personal data without fear or stigma.”
In the big picture, Matthews commented, “I’m certainly no Super Bowl historian, so I try not to over-compare year to year. But as an agency owner, I deeply understand how much work, pressure, and intention goes into every single one of these spots, good or bad. I imagine many teams were navigating a newly evolving landscape, especially around AI and how it disrupts previously comfortable workflows.
“Overall, I was entertained by a good portion of the work, and that’s really the bar for a moment like this. At the end of the day, Super Bowl ads should offer a brief, collective pause. A little escape, a little delight, and a shared moment of fun. On that front, this year delivered.”
Mia Nogueira Hearne
Mia Nogueira Hearne, associate creative director/art director, TDA Boulder, singled out her “Liked” and “Could Have Been Better” Big Game ads.
Here rundown of “liked” commercials consisted of:
–”Claude–Great. The idea, the execution, the casting was perfect. I wish I could see all the scripts that didn’t make it. The art direction feels completely distinct from ChatGPT and totally true to their interface. It’s smart, well executed, and visually cohesive. You can tell they know exactly who they are.”
–”Kendall Jenner–Yes, it went viral because it’s Kendall. But it was also beautifully made, the script was simple and easy to follow. The whole thing was incredibly polished. What I really liked was the roll out plan. They launched it early, built press around it, did the Jimmy Kimmel follow-ups, and by the time it aired during the game it felt like a callback instead of a debut. Way bigger impact instead of betting everything on one night.”
–”Manscaped–So fun. Made me smile. The ballad was silly, easy to follow along. An actual concept that didn’t need a celebrity. And I especially loved the BTS of the talent being difficult on set.”
–”Liquid Death–Liquid Death always makes me smile. I love their world. It’s consistent, weird, and unmistakable. Even when the idea isn’t groundbreaking, their weirdness carries it. Perfect for the Super Bowl crowd that’s half watching/drunk/yelling.”
–”He Gets Us–That reveal at the end gets me every time! I always think it’s going to be some tech company and nope. It’s Jesus. And the message lands without feeling preachy. Nicely done.”
As for the ranks of “Could Have Been Better,” Nogueira Hearne cited:
–”Squarespace-Emma Stone–Visually absolutely stunning. Truly gorgeous. Conceptually, I wanted more. The call to action confused me. From what I understand, Squarespace doesn’t help you get domains that are already taken. I get the double meaning, but what happens if my domain is taken? That disconnect felt unusual for a brand that’s normally very clear about being the solution. But regardless, I will be thinking about how beautiful it was to watch.”
–”State Farm–Halfway There/Living on a Prayer – Fun idea at the core. But it felt layered to the point of overload. Big complicated concept, random celebrities, a full song. It became hat on hat on hat. Too many ideas competing at once. And for a half-drunk, loud Super Bowl crowd, it felt way too risky. Subtitled might have helped.”
–”Coinbase –Loved the beginning. The karaoke vibe felt different and promising. Was hoping it was another floating QR ad, where it was smart and a different use of the medium. But it didn’t build. It just kind of plateaued.”
Mia Nogueira went on to pinpoint a trend, sharing, “Beyond the obvious trends like GLP-1s, AI, outdated celebrity overload, and two butt spots, there were a lot of song-driven ads. Don’t get me wrong I love a ballad. Ragu’s “Long Day of Childhood” is one of my favorite ads ever. But at a crowded Super Bowl party, where your audience is half listening and half talking, songs are hard to track. If the idea depends on catching every lyric, that feels like a risky bet for an $8 million buy. I was craving….subtitles (eww 🙁 !!!!).”
Overall, she continued, “Bad Bunny was the star of the show. I don’t think anyone walked away actually talking about the ads. Brands say they want to be part of culture, but most aren’t taking real risks to get there. I get it. The climate is tricky. But honestly, the bar is low right now. That’s the opportunity. You don’t have to be outrageous or controversial. You just have to do something slightly different. That’s enough to stand out.”
Austin Scott
Creative director Austin Scott of Brandon said his favorite Big Game ads this year were:
–”The Jurassic Park x Xfinity spot was a standout. It was a fun pairing of nostalgia and a classic problem/solution framework, built around an epic situation we all know, then playfully diffused by the brand. By reimagining a world where technology breaks down and dinosaurs destroy the park, and then flipping the narrative with Xfinity coming in to fix it, the brand literally changed the outcome of the story. The back half of the spot did a great job showing the product in action without sacrificing entertainment.”
–”Michelob Ultra was another favorite for actually telling a story. Kurt Russell was great, and in a night full of quick gags and moments, the narrative approach felt refreshing and complete.”
–”The OpenAI Codex spot stood out for its restraint and beauty. It trusted visuals and tone rather than spectacle, which made it feel elevated compared to many louder tech ads.”
Ads that missed the mark for Scott were:
–”T-Mobile’s in-store Backstreet Boys surprise was more annoying than entertaining. The forced chaos and nostalgia grab felt loud and exhausting rather than fun.”
–”Coinbase was disruptive, but the use of the Backstreet Boys track created brand confusion. Many viewers initially thought it was another T-Mobile spot, which undercut the impact of what was otherwise a bold attempt to break through.”
For Scott, two clear trends stood out on Super Sunday. “The first was heavy use of ‘80s and ‘90s nostalgia. This showed up not just in music and cultural references, but also in format, with multiple brands using a 4:3 aspect ratio to evoke retro and social-era visuals.
“The second trend was brands continuing existing campaigns into the Super Bowl rather than creating one-off moments. Many advertisers used the game as an extension of work already in market, focusing on building long-term brand equity. While this approach made strategic sense, it sometimes came at the cost of surprise or the novelty that audiences have come to expect from Super Bowl spots.”
Overall, Scott gave this year’s Super Bowl advertising a letter grade of “a solid B. There was strong craft and thoughtful strategy across many spots, especially from brands focused on extending existing campaigns rather than creating one-off stunts. That approach showed discipline, but it also resulted in fewer truly surprising moments.
“Where some ads fell short was in disruption that never connected back to a clear purpose. Several spots worked hard to grab attention through spectacle, celebrity, or format, but failed to tie that disruption to a meaningful brand idea. The strongest work balanced ambition with intent, while the weaker work asked for attention without fully earning it.”
Khari Streeter
Khari Streeter, chief creative officer, Burrell Communications, singled out his favorite Big Game ads this year:
–“I’m a sucker for ‘win one for the gipper!’ anthems. And I thought the creative team for “I am a champion” hit the mark. The concept was grounded in representation, from the Culture inspired speech, to the thoughtful coding in the partner IP, and conceptually giving love to positive mentors by cleverly repeating the speech given by his coach. Felt like we were embedded in Glasper’s Black Superhero track.
–“Using Gaga to cover ‘Mr Rogers’ theme was a great strategy and insight for real estate services. The Redfin storytelling worked hard putting their value of community on their sleeve.
–“Levis found a slick way to sit in its icon status. James Brown’s ‘Get Up Offa That Thing’ had suiting swagger for the simple visual storytelling. Stitching in Shai Gilgeous, Questlove, Woody, Springsteen and revealing Doechii with charm, framed the brand as classic and current.”
As for what missed the mark, Streeter related, “Humor was on tap. Some really funny stuff. Affleck did his thing. The Fresh Prince, Family Matters, A Different World , Seinfeld, Cheers, and Friends was the TV celebrity version of saturated fat for Dunkin (great use of Brady). Fanatics Sportsbook using Kendal’s curse and Novartis Tight Ends–prostate screening insights brought smiles. In my opinion the Meme on TV approach has to hit a cultural cord that goes thermo-nuclear-viral to be lasting. But maybe even singing toilets have a right place and time.
Regarding a welcomed theme/trend, Streeter said, “Bunny suggested at the Grammys to ‘fight with love.’ With a backdrop of injustice, a few brands did just same. DEI was thematic despite headwinds. Multiple brands drafted Spanish culture, props to Don Julio and Duo Lingo for the surrounding dialogue. Levi’s and the NFL’s ‘I am Champion’ put representation on display. Redfin exemplified ‘Inclusion.’ Dove was consistent with its multidimensional body positivity. And Lay’s had a muti-generational story. These brands had something real to say in an age where many have withdrawn. Consumers do keep score.”
For his overall big-picture assessment of Big Game ads, Streeter shared, “As usual a wealth of celebrity, quantity and spend. I liked seeing Lance Jensen’s ‘Drivers Wanted’ rebooted. Analog vibes with the working phone number in windshield dust was a nice touch. Ring had very smart work with Search Party (find my dog), more practical vibes. Useful often wins. AI Slop was minimal but isn’t going away. Brands continue to explore but consumers are wary. When brands use generative AI with a purpose that adds to the consumer’s experience, it has a much better chance of being embraced. Meta’s Oakleys used AI to dial up its ride. And I respect that Pepsi chose AI violence with a classic conquest tactic, by poaching polar bears. On the whole (B-) but Bad Bunny stole the show.”
Adam Von Ohlen
Adam Von Ohlen, EVP and chief creative officer, Two by Four, shared, “The Super Bowl is always a blend of blockbuster, celebrity-laden ads and a handful of daring ideas that take real risks. It’s like seeing a double feature of a Marvel movie and an art-house film all in one evening. And honestly, both are pretty cool.
“This year, on the blockbuster side of things, I really enjoyed Pepsi’s ‘Polar Bear’ spot. In this case, the celebrity was the Coke mascot who, to his shock and surprise, actually chooses Pepsi in a blind taste test. What follows is a reckoning–and eventual acceptance–of his soda conversion, culminating in a nod to this summer’s infamous cheating scandal that was exposed on the jumbotron at a Coldplay concert. Of course, this time there’s no shame in the polar bear’s game. It was a smart nod to classic advertising and modern pop culture, all wrapped into one.
“Another winner for me on the blockbuster side was Uber Eats, starring Bradley Cooper and Matthew McConaughey. Talk about long-term storytelling through advertising. If you’ve been following along throughout the football season, you’ve seen Matthew–the football-only-exists-to-sell-food conspiracy theorist–contrasted with Bradley, the conspiracy theorist denier, trading spots back and forth. Heck, McConaughey’s been at it for a couple of years. This season, they finally collided to settle their differences. It was a great weaving of stories and spots over time, all coming together at the Big Game. Big star power, funny gags, and masterful storytelling. What else could you ask for?
“On the flip side of the coin, other brands went for riskier ideas that worked just as well. I really enjoyed Kendall Jenner’s Fanatics spot. Online gambling has exploded over the past few years (both of my parlays lost, by the way–ugh), and most of the ads naturally feature athletes in funny scenarios. So, it was refreshing to see a wholly new take. Did I know that athletes Kendall Jenner has dated have notoriously gotten hurt? No–but she sets up that fact quickly and then proudly explains how she’s become rich from her ‘curse,’ affording private planes and other pricey perks. I had seen, leading up to the game, that she and one of her exes had a Twitter (sorry, X) argument, and now I get it. Too funny, and kudos to Kendall for being able to laugh at herself.
“That’s the fun of Super Bowl advertising. Sometimes you want the big stars and long-running stories, and sometimes you want a smart left turn that makes you laugh. This year delivered both. I only wish the game itself had given us something more intriguing–and I’m still upset about losing my parlays.”
As for themes or trends this year, Von Ohlen continued, “If there was a defining theme in this year’s Super Bowl ads, it wasn’t just the presence of AI, it was brands collectively trying to figure out how to talk about it.
“AI showed up everywhere this year–sometimes as the idea itself, and other times as the technology powering the idea. In some cases, brands leaned into it head-on, using self-awareness or restraint as the hook. Claude’s spot, for example, stood out not because it showed off what AI can do, but because it openly acknowledged what it probably shouldn’t do: sell ads. That sense of off-limits judgment felt surprisingly refreshing in a year when so many brands seemed eager to race toward the future.
“Case in point, Genspark’s Matthew Broderick spot suggested a world where AI gives us our time back, allowing us all to take the day off. Whether that vision felt hopeful or unsettling likely depended on where you sit in the workforce, but it underscored a broader trend: brands aren’t just selling products with AI, they’re selling philosophies about what AI means for our lives. From imagining what it’s like to live in a newly purchased home, to powering a small business, to telling average Joes that ‘you can just build it,’ it’s clear AI is finding its advertising voice.
“At the same time, many advertisers used AI less as a message and more as a tool. De-aging technology played a prominent role, most notably in Xfinity’s ‘Jurassic Park’ spot and Dunkin’s cast of familiar sitcom stars. In both cases, the ideas were strong and the nostalgia worked, even if the technology itself was still slightly visible. It felt like a transitional moment–great concepts paired with tools that are almost, but not quite, invisible yet.
“The larger takeaway from the night was that while AI may be changing how ads are made, it hasn’t changed what makes them effective. The spots that cut through weren’t defined by technical ambition, but by clarity and restraint. In a year dominated by the most advanced tools advertising has ever had, the strongest work still came down to taste–knowing when to use technology, when to hide it, and when to leave it out altogether.”
Olivia Young
Olivia Young, managing director-creativity and brand, Noble People, shared a rundown her favorite Super Bowl spots this year. They were:
Noble People’s Olivia Young, Managing Director – Creativity and Brand.
–“Manscaped was funny, clever, original, and just the right level of out-there. The hair balls are ridiculous, the jingle somehow makes you root for them, and turning the hair itself into the star is a great twist. It’s weird, funny, and unexpected. Simple idea, perfectly executed.”
–”Raisin Bran’s Will Shatner spot was such a smart, stupid-good Super Bowl idea. It’s the kind of wordplay concept that’s instantly memorable because it’s so simple. It hits the perfect intersection of celebrity, product truth, and creative concept, and Shatner is the ideal delivery mechanism. A great example of how far a single, strong joke can go.”
–”Squarespace tapped into a real human behavior: people obsess over the domain before they ever think about the site itself. Watching Emma Stone spiral over an unavailable name turns that very modern anxiety into absurd, over-the-top comedy, with the film-noir drama making it instantly memorable. It’s a great example of distinction over differentiation, creating a moment that sticks with you rather than focusing on product features.”
–”Amid the jean wars, Levi’s spot felt exactly true to the brand while still feeling modern, inclusive, high-energy, and a bit nostalgic. By celebrating backsides and backstories, the ad turned a simple denim moment into something culturally playful and universally human. It struck the perfect balance of heritage and relevance, making it feel like both a celebration of Levi’s legacy and a genuinely fun commercial moment.”
–”Grubhub’s “Eat the Fees” was a smart, brand-centric way to deliver a very clear value proposition, while still being funny and fun to watch. It’s memorable because the idea is simple, repeatable, and actually tied to a product benefit, not just wrapped in celebrity.”
–”Anthropic’s Claude ad was an unexpected standout in a sea of AI messaging. It felt like it was actually saying something different, clearly positioning itself against the category and taking a direct swing at the moment when AI is starting to look and sound the same. It was one of the few AI spots that offered real differentiation and a reason to consider switching.”
–”Budweiser’s eagle spot was a beautiful return to form. It brought back the emotional resonance of the classic Clydesdale era while telling a new, sweet story. The eagle narrative, paired with “Free Bird,” felt nostalgic without being tired, and it was genuinely moving in a way only Budweiser still seems able to pull off.”
–”Instacart’s banana spot was another favorite because it built a genuinely funny, memorable idea around a strange but real product truth. Ben Stiller wasn’t just there for celebrity value. The absurd techno-drama made the banana ripeness selector unforgettable, and it was weird in exactly the right Super Bowl way.”
Relative to themes/trends, Young observed, “One big trend was brands leaning harder into real product truths. Even when the executions were absurd or funny, the strongest spots were anchored in a clear reason to believe, like Grubhub’s fee message or Instacart turning banana ripeness into an actual idea.
“Another interesting dynamic was the mix of old and new. You had heritage advertisers like Raisin Bran and Levi’s showing up alongside the new wave of AI brands, which made the lineup feel like a snapshot of culture right now.
“Lastly, it felt like celebrity overload this year–and a lot of the same celebs we’re seeing year over year. Celebs are always part of the Super Bowl, but this time it seemed like almost every spot had multiple famous faces. The best ads made the celebrity serve a real concept, but in other cases it felt like brands were overcompensating for attention in a more fragmented, influencer-driven world.
Young concluded, “Overall, I’d give this year’s Super Bowl ads a solid B+. There weren’t a ton of universally iconic spots, but there were a lot of smart, well-crafted ideas that respected the audience’s intelligence. The strongest work understood that attention is earned in the first few seconds and that memorability matters more than saying everything. It felt like a year where brands prioritized distinction, which is a healthy direction for the Super Bowl.”
