Scenario planning Is one of the essential ways we get from culture to commercial advantage at Crowd DNA. Here’s how it works…

Creating culturally charged commercial advantage: it’s a term that everyone who works at Crowd DNA gets to hear pretty incessantly. And communicated very enthusiastically – it’s utterly central to how we go about our work; to how we reach high quality solutions for our clients.

While we bring a wide range of methods, techniques and frameworks into play, few speak to fusing cultural understanding to addressing business needs quite as explicitly as scenario planning. It has been one of our go-to approaches for years but – as per sourdough bread and jigsaw puzzles – Covid-19 has seen it rise to even greater prominence in our world.

With a history heading back to the 1950s and early uses in the military and think tank organisations, scenario planning is a strategic method which allows us to explore credible alternative futures – and then what opportunities and threats these futures might precipitate for our clients. We’ve used it for objectives such as product and experience development, brand positioning, comms activation, new market entries, investments and partnerships strategy.

Importantly, we don’t consider scenario planning as being about hard and fast predictions. More as well evidenced hypotheses that allow businesses to start considering less routine, less linear, multiple futures and to start a process of honing the right strategy, or strategies. Scenario planning also enables our clients to think beyond the ‘official future’ – which, though generally little more than an extrapolation of present day realities, often looms too conspicuously on the roadmap in large and complex organisations.

There is a diversity in how we use scenario planning across projects. Sometimes the field of vision is wide; at other times narrower. We may work with just one set of four scenarios; though other projects require us to develop several sets to work with. While it is always a collaborative process with our clients, the depth and frequency of the collaboration certainly varies.

We pour culture into our scenario planning work and we extract commercial advantage from it

What’s less variable is that, for us, it starts with culture. We pour culture into our scenario planning work and we extract commercial advantage from it. Numerous references to changing needs and emergent tensions – often derived from our Crowd Signs methods (trends analysis, semiotics, culture-at-scale and our KIN network)  – go in. Commercial factors such as spending habits and category developments are considered, too. From there, we edit down – often with a need for considerable ruthlessness – to the ‘critical uncertainties’ we will work with.

This gets us to two axes on which we place the critical uncertainties; generally using a two-by-two matrix as our format (it’s the most commonly used format for good reason, striking a balance between allowing for different futures without overcomplicating the issue and losing the audience).

Example 2x2 scenario matrix for comms development work
Example 2x2 scenario matrix for comms development work


Thoughtful and empathetic storytelling is used to make sure our clients can imagine their way through every dimension of a scenario

Creating the narrative that will populate each square is key – thoughtful and empathetic storytelling (strong naming principles advised) to make sure our clients can imagine their way through every dimension of a scenario, and understand the sequence of events that leads to each of them. To bring further credence to each narrative, we also look for the early signs of life. The first traces and initial manifestations of each story. Generally an extension on the work that goes into defining the narratives in the first place, again, we often leverage our Crowd Signs methods for this (engaging with our KIN network invariably reaps great results), alongside qual and quant insight.

Getting to a high level of credibility is a recurring focus point throughout a scenario planning process. It’s a consideration we often meet via socialising the work, creating films, editorial content, frameworking tools and immersive sessions to make each scenario as relatable as possible – and thus making sure that the strategies developed are truly attuned to each story.

And whether we’re working with four stakeholders or 40, face-to-face or remotely, on projects more ‘sprint’ or extended in format, strategy development is always our ultimate aim in this work. What strategy means of course depends on the context – brand or innovation, global or local etc – but it’s the essential outcome; and our clients must be left better armed to survive and thrive in the future than when the process started.

Criticisms of scenario planning? There are a few. One is that it can function as an abdication of leadership, concentrating on multiple options over a confident and unswerving path ahead. But we consider that more of a communications challenge, in how the role of scenario planning, and the scenarios themselves, are messaged to the wider business, and integrated into future objective setting.

Consider scenarios as living, breathing, evolving entities

It is also important that scenarios aren’t used once, then discarded. We encourage our clients to consider them as living, breathing, evolving entities. They need to be revisited; the narratives refreshed; the strategic implications kept sharp and prescient.

There are variations in how we use scenario planning. Sometimes the four scenarios are considered equally; in other projects, one scenario functions as the dominant ‘base case’. And then there are future-looking projects where we choose not to use scenario planning at all. It can, in some instances, be more appropriate to work with stand-alone cultural shifts and to innovate against these discreetly. In other circumstances, it may be more fitting to build our thinking around a singular forecasted future.

But scenario planning remains the framework we come back to most often. It’s balances simplicity with dexterity. Focus with range. It is easily understood, cultivates a shared language, and encourages contribution and action.

So how have we used scenario planning recently? It has helped us plot post-pandemic futures for a major water brand; plan communications, with capitalism’s fast-changing trajectory in mind, for an upmarket media title; innovate around nascent drinking and socialising moments for an alcohol portfolio; forecast our future relationship with money, and the opportunities this presents, for a fintech business.

To learn more about scenario planning at Crowd DNA, and how it gets us to culturally charged commercial advantage, do get in touch




More observations from our Crowd Numbers quant team as - in partnership with Norstat - they investigate some of the mid- and post-pandemic themes that are emerging...

We are now six weeks, or 43 days, into the UK’s coronavirus lockdown. Almost a month and a half of living under imposed conditions, causing us to change many things about the way we live. Some of our habits are no longer possible: socialising at the pub, going to the gym, commuting to work. Some of our habits have been compounded: watching TV, eating snack foods, ordering online. And then some of us will have formed new habits: working at home, video calling friends and relatives, cooking with new ingredients, helping others in our community.

Research suggests that forming new habits can take as little as 18 days, and as many as 254, with the sweet spot landing around 66 days. So, at day 43, we are well on our way to breaking in some of these new habits – meaning that even when things return to normal, we may find ourselves continuing some of our lockdown behaviours.

In our Covid-19 study with Norstat, we have seen a notable uplift in the way the crisis is affecting spending habits. Between early April and mid-April, the number of people claiming that the crisis will have a long term effect on their spending habits jumped from 46% to 57%. Now into early May, this increased figure is holding. The longer the lockdown lasts, the less likely it is that life will return to an old ‘normal’ and the more likely it is that some of the habits we have picked up during corona will simply be the ‘new normal’.

For brands navigating through this crisis, knowing which habits will stick (because, of course, many will) and which will twist, is a difficult call to make. It’s a topic we’ve started exploring for clients across categories such as alcohol, water, media and home; reaching powerful outcomes that are having an immediate impact across comms, brand and innovation. Check in to find out more.

Previous Crowd Numbers/Covid-19 content here

*  Crowd DNA’s Numbers team collaborated with Norstat on this work, surveying an 18+ nat rep UK sample; most recently on May 1.

Crowd DNA New York’s Lizzy Hussey and Eden Lauffer unpack the semiotic codes of control in the newly booming feminine care space...

For decades, the femcare market has remained unchanged. Seen as taboo or ‘dirty’ and laden with stigma, periods have been framed as unpleasant medical inconveniences best kept out of sight. However, a cultural shift instigated by a new wave of feminism – and nourished by startup culture and the Instagram aesthetic – has brought new category disruptors to the fore.

Through a semiotic analysis of 35 sources (primarily US and UK based), we’ve identified the dominant, emergent and future-facing codes that chart femcare’s shifting relationship with control. Crucial to how we understand the category, this lens offers guideposts to navigate femcare evolution.

Dominant code: Control as external expertise

Walking down the ‘feminine hygiene’ aisle of a drug store, blue and purple tones fill the shelves. Take sanitary pad market leader, Always: the indigo and magenta color scheme is reminiscent of hues used by banks, pharmaceutical companies and even royalty, to cue authority, safety and control. This alignment with enforced expertise signals control over periods – they’ve been taken out of our hands.

This message is reinforced by imagery of smiling, carefree young women and girls, suggesting lives free from the ‘mess’ of periods. Rays of sunshine peek into these images, hinting at a protective higher and external power taking control. Language is concise and instructive with taglines like, ‘feel confident and protected for less’ implying a sense of guidance. Clean, standardized, sans serif fonts (synonymous with road signage, prescription labels and instruction manuals) also push this sense of external direction. It’s perhaps, then, no surprise that the emergent code of femcare is all about reclaiming agency and control through self exploration and acceptance.

Clean, concise fonts like that of bank offers (left) align with the sense of control Always' messaging conveys
Clean, concise fonts like that of bank offers (left) align with the sense of control Always' messaging conveys

Emergent code: Control as something to be taken back

Brands like ohne and Yoni feature close up shots of human bodies, cropped to draw attention to their flesh and physicality. Unlike the clothed images used in the dominant code, these intimate visuals signal an exploration, reclamation and acceptance of one’s body. The focus on, and visibility of, the body also indicates that this code is very much rooted in the self.

Liberal use of symbolic representations of vaginas (both visual and verbal) is another way these brands signal body intimacy and ownership. Fruits, often papayas with their suggestive shape and dark seeds, are a popular choice; as are flowers, calling on metaphor from O’Keeffe’s paintings. Yoni’s namesake is one of these stylized representations of female genitalia. Other language choices alternate between the euphemism-free (simply ‘vagina’) and the more stylized curses, like ‘pussies’ and ‘bullshit.’ These images and words communicate that this is a creative, pleasurable subject, not a clinical one, introducing a degree of permissiveness around the category totally unseen in the dominant code.

However, the vernacular of this code remains largely rooted in symbols – partially objectifying the topic to permit its discussion.

The representation of vaginas as papayas in ohne's brand comms is reminiscent of Georgia O'Keefe's flower paintings
The representation of vaginas as papayas in ohne's brand comms is reminiscent of Georgia O'Keefe's flower paintings

Future-facing code: Control as social change

Moving past authority to acceptance, the future-facing emergent code sees control manifesting as social change and purpose, evidenced by socially conscious cues that demand action.

While visuals of the body still abound in this code, the tonality of brands like Thinx has shifted. Several of the images are of embrace, of people holding each other, opening themselves up to contact. This conveys a message of support and community, standing in contrast to the previous code’s more self-focused narratives. Diverse portrayals of body shapes and skin tones, alongside fluid language choices like ‘human’ over ‘woman’ and ‘girl,’ are signals of inclusivity and bolster this sense of solidarity.

Taking this further, brands like Thinx and Freda who tap into this code also use words like ‘smash,’ ’ ‘rise’ and ‘manifesto,’ employing the language of revolution, power and violence to signal confrontation with hegemonic ideals and an overthrow of existing order.

A departure from the flesh-forward imagery employed by Yoni in the emergent code, Thinx paints a picture of embrace and self-love
A departure from the flesh-forward imagery employed by Yoni in the emergent code, Thinx paints a picture of embrace and self-love

Understandably, for established brands, this idea of drastically upending existing conventions is probably a little unnerving. But the reality is that culture has the power to transform, and that categories with major players are often subject to disruption through seismic cultural shifts. Femcare is undergoing one of these moments, and the brands that identify and unpack these cultural shifts will be best placed to weather this disruptive storm.

Reach out if you’re interested in learning more about semiotics at Crowd DNA, and how it can help you identify and unpack cultural shifts.

Crowd Tracks: Beauty

From ‘skintellectuals’ to K-pop collaborations, our new instalment of Crowd Tracks exposes the changing face of beauty over the past four months...

Download the full copy of Crowd Tracks: Beauty here.

We’re back with round two of Crowd Tracks – a social data dispatch highlighting emerging trends using our Culture At Scale method. This time, the spotlight is on beauty, as we look back at the viral stories and online conversations sprucing up the category.

The last few months have been turbulent (to say the least) and we completed most of this edition before the full extent of the Covid-19 crisis became clear. While the observations still have relevance both now and post-pandemic, we’ve also made some adjustments to reflect the new beauty behaviours that we’re starting to see.

The full report features:

– Viral stories from around the world – from female politicians breaking beauty taboos, to the growing appetite for halal and vegan cosmetics in South East Asia

– A brand leaderboard highlighting the companies that are making the biggest waves in beauty through nostalgic throwbacks and K-pop collaborations

– A spotlight on how UZ deployed a cloak-and-dagger campaign at New York Fashion Week to ignite a cult following

– Deep-dives into active beauty, the industry-wide paradigm shift putting power in the hands of consumers and creating a new generation of DIY dermatologists

– Our view on how Covid-19 is set to accelerate the virtual beauty space as people stay home and get creative with AR filters and lenses

Download the full copy of Crowd Tracks: Beauty here.

Exploring the virtual beauty spectrum from 'creative face' to 'perfect face'
Exploring the virtual beauty spectrum from 'creative face' to 'perfect face'

Culture At Scale at Crowd DNA

At Crowd DNA, we’re constantly tracking conversations online across a range of categories. We deploy social media and other unstructured data sources in a number of ways; either as a stand-alone method (including producing one-off and periodical reports for our clients) or integrated alongside semiotic, ethnographic and quantitative approaches. If you’d like to find out more about how we can use Culture At Scale to meet your business challenges, get in touch.

Virtually Together

In a second week of isolation, the Crowd DNA NYC team have been recording their experiences…

As the world is driven further into isolation, and terms like ‘quarantine’ and ‘social distancing’ become commonplace, you’d be forgiven for thinking that our lives just got a whole lot lonelier. At work, we no longer sit directly next to our colleagues. We no longer meet our friends for coffee, go to the movies together, or exercise in a room full of strangers. As for most brands, the in-store experience is indefinitely on hold. Yet despite our new found physical isolation, we’re finding interesting ways to connect.

At Crowd DNA New York, we wanted to explore how we’re now doing that connecting. Whether it’s shifting social gatherings online, virtually supporting local businesses or simply getting nearer to ourselves, we’re finding new ways to boost our sense of closeness in this physically isolated world.

Check out the video below.

How To Care

Crowd DNA New York’s Eden Lauffer and Lizzy Hussey interrogate the semiotic codes that brands are employing amid the Covid-19 crisis, as they reach out to let people know that they are there for them...

If you’re living on planet Earth and have email, chances are you’ve received a few (or tons) of missives informing you how various brands are reacting to Covid-19.

We’ve stretched our semiotic muscles, analyzing email marketing received over the last five days to uncover what these brands have been saying – and more importantly – how.

Readers of our semiotics content hopefully recall that normally we explore a relevant topic through the lens of one brand. But these are not usual times. What’s noteworthy at the moment is that most brands have felt compelled to communicate their response over the same medium. Looking at the different ways they’ve done so lets us unpack how verbal and visual cues affect the ways we culturally understand ‘responsibility’ and ‘care.’

Care as a formal reassurance

As crisis grips, the need for voices of confidence, clarity and unwavering strength become more important than ever.

One company we see leaning into this code is Target. A recent email from their CEO was filled with strong, guiding language like ‘committed,’ ‘determined,’ and ‘purpose.’ Cueing confidence and decisiveness, this language works to ensure Target’s customers feel protected and enables the brand to adopt the position of a responsible and trustworthy leader.

Further underscoring this sense of respect and formality is the email’s left-aligned text, which acts as a visual manifestation of order. And where the brand usually relies on lively, bright red visuals and images of smiling people, this email forewent heavy branding or imagery.

By visually deprioritizing the brand, Target is literally conveying that it takes a backseat to public safety and the national interest. The email closes with the CEO’s signature, a final signal of formality and personal responsibility, and one that indicates how some brands are semiotically behaving more like public institutions than commercial enterprises. This alignment with a national message, as almost a civic call to duty, engages the brand with the people they seek to comfort and bolster.

Brands such as Target address customers using formal, left aligned text; while the likes of Seamless instead convey a message reminiscent of a poem calling for unity
Brands such as Target address customers using formal, left aligned text; while the likes of Seamless instead convey a message reminiscent of a poem calling for unity

Care as community support

As we’ve retreated indoors, concern for small and local businesses has spurred social posts urging us, as neighbors, to get creative in our support. We’ve also seen brands such as Uber Eats adopt this code of community into their outreach.

Speaking with collective nouns like ‘our’ and ‘we,’ and choosing to write from their entire team (vs. an individual CEO) establishes a peer-to-peer tonality that emphasizes community, and positions Uber Eats as part of it.

This is supported by language choices like the header: ‘We’re in this together. Let’s support local restaurants,’ and the deliberately local-first tone, which highlights small business owners and workers, delivery personnel, and first responders in need. The subtle use of green throughout the note bolsters cues for growth and community renewal.

Though this is expressed differently, in aligning themselves with the community, Uber Eats is another example of a brand behaving like an institution rather than a commercial offering.

Care as a brief respite

While the previous two codes of care confront Covid-19 head-on, a few brands have taken a different approach.

Local fast-casual chain, Dig Inn, for instance, does not explicitly refer to Covid-19 once in its communication. Instead, its language – with the opening line ‘A lot of things are changing, but your lunch doesn’t have to be one of them’ – offers both support, but also respite from the constant flow of coverage; it reassures readers that some elements of normalcy and their routine can remain.

While the font is simple and the message concise, even the use of Dig Inn’s typically bold and bright images of their natural and vibrant food permits a sense of respite, cueing the pleasure and sensory stimulation that is lacking in more formal brand comms (eg Target, Uber Eats).

Rather than a letter from the CEO, Uber play to community, signing off from the team as a whole. Dig Inn's bright imagery and messaging evokes normalcy
Rather than a letter from the CEO, Uber play to community, signing off from the team as a whole. Dig Inn's bright imagery and messaging evokes normalcy

How to care

We all care. And demonstrating that care as a value is more important than ever right now. It’s admirable and vital that brands are ready and willing to take up their social roles and help the planet manage and recover from its current plight.

It’s also very important, as a brand, to be able to express a sense of responsibility and offer reassurance in a way that is both culturally relevant and effective. What this post underlines is that there are many ways to express this care, each with differing implications for how it positions you in the cultural landscape.

At Crowd DNA, we’re learning fast about how to work under current conditions. We’re adjusting our methods and already working on Covid-19-related briefs for clients in areas such as alcohol, media, retail, home and luxury. Check in with us if you’d like to find out more.

What does trust look like in a world of economic uncertainty? Crowd DNA semiotician, Bridget Dalton, explores the future of trust in the age of the digital bank...

It feels like a truism to say that banks must communicate trust. But in a financial world that has been churning since the crash of 2008 – alongside frequent innovation from ‘challenger’ banks responding to a new generation of consumers – the way that trust is communicated is very much anyone’s game.

Culturally, we’re moving away from trust narratives located in one well and/or long established place or person. Consumers are looking for new representations of trust that can accommodate change, impermanence and flux. So how can banking brands (traditionally a category for which stability is important) build trust in this context? 

In the second post of our Semiotics At Crowd series, we’re looking at Starling Bank. The digital banking service was founded in 2014 and offers personal, business, joint and euro accounts. From a semiotic standpoint, it also sheds interesting light on future-facing narratives of trust and fluidity in finance, as well as how brands can approach an ambition to grow older customer bases in fintech. Below, we’ve used Starling to explore three new codes of trust in the age of the digital bank.

1. Trust as fluid and always in motion

The murmuration of birds in Starling’s comms demonstrates a very clear shift when it comes to trust in finance. Compared to the permanence of bricks and mortar banking represented by long established institutions, trust is now in the nimble ability to react and change (think from bullion to bitcoin). The group of starlings appears to duck and dive at random, bolting through the landscape along an unpredictable course. But, the birds are also always in perfect formation; instinctive and fluid, efficient and elegant. There’s room for individual flight, but they are able to regroup at any moment. 

“Starling’s birds are a far cry from the guardianship of, say, Barclay’s eagle – static and watchful. Instead, they’re adaptable and able to respond to changing environments.”

Starling’s troop of birds are a far cry from the guardianship of, say, Barclay’s eagle – static and watchful. Instead, they are adaptable and able to respond to a changing environment. Coding money itself as fluid and changeable, as opposed to singular and steady. The starling comms represent thoughtful but fast freedom. By using the image of the birds in flight, Starling is suggesting that today trust is about enabling consumers to have confidence and range through intuitive structures, that are always ready to respond to the environment.

2. Trust as authority, balanced by youthful pleasure

Starling’s livery allows the brand to sit between the established formality of traditional banking and the bright, disruptive optimism of a challenger bank. From a semiotic point of view, Monzo’s neon orange card redefines our relationship with finance; the payment moment becomes enlivened, almost irreverent and youthful. Starling’s colour palette is a balance between the dark blue seriousness of traditional authority and the refreshing, swimming pool turquoise of light-hearted pleasure. 

The use of the blue colour wheel strongly evokes the soothing holism of wellness apps, such as Headspace and Calm, and codes trust as about reassurance, transparency and support. This balance allows Starling to effectively communicate trust to consumers across generational divides. The brand maintains a sense of dependability for older consumers, while also inviting the suggestion of excitement and difference for a younger audience.

3. Trust as independence, and as part of wellbeing

Bó, NatWest’s new digital arm, leads with the message: ‘Do money better’. While the language might be casual and jargon free it is still, at its heart, instructive and authoritarian. This type of disciplinarian command, even when it’s framed by modern, wellness aesthetics, connotes the former banking mode of establishing trust: we know best and you must do as we say.

Starling also employs the casual vernacular ‘feel good’ but takes a far softer, more emotional approach. Trust across multiple categories (eg fitness and wellbeing) is increasingly about establishing legitimacy through demonstrating authentic care for consumers. This is amplified in the eminently gentle: ‘You’re not bad with money. You’re just with the wrong bank’ strapline, which is a significant rearrangement of the relationship between a consumer and their financial services. The word ‘you’re’ combines direct address and the active verb to connote positive affirmation and agency. By explicitly locating the source of financial woes at the feet of the banks, Starling is able to offer financial rehabilitation to consumers and build trust through the idea that the bank, in fact, trusts the consumer. Within Starling’s comms we find holistic ideas around financial health and emotional wellbeing coalescing in one space.

“Starling is taking careful semiotic steps to redefine trust in the financial landscape, coding it as strongly linked to wellness, fluidity and peer-to-peer support.”

Overall, Starling is taking careful semiotic steps to redefine the meaning of trust in the financial landscape, coding it as strongly linked to wellness, fluidity and peer-to-peer support. The brand is achieving this without alienating older consumers by repurposing some established cues of financial trust within a more future-facing context. Starling is making some measured strides in the category coding of trust – but just like in life, in culture, and in semiotics, building trust takes time and work. 

Need help talking trust? Get in touch at:

Is America ready to make fun of itself? Crowd DNA New York’s Eden Lauffer explores how this year’s Super Bowl ads are poking fun amid the turmoil...

With the Trump presidency in the US and Brexit anxiety in the UK, both locales are no stranger to turmoil. But as fires spread in Australia and China’s coronavirus lockdown continues, 2020 seems to have kicked off with a feeling of worldwide unrest. In the first few weeks of January alone, online memes have been crying World War III and the end of humanity as we know it (with a humorous twist, of course). It’s no surprise, then, that escapism has become a fully-fledged trend since the 2016 US election. Consumers retreat from the noise of politics into rent-a-nap centers, drag culture, astrology charts etc. 

Escapism takes a new form in this year’s Super Bowl ads. After all we’ve been through in just the first month of 2020 – the Harvey Weinstein trial, the impeachment case, the overwhelming number of presidential candidates – America is ready to start making fun of itself. And while funny, over the top ads are synonymous with the Super Bowl, this year, their tone is a different kind of escapist humor – it’s more tongue in cheek.  

Of those ads, we’ve identified three cultural trends that they fall into, namely: mocking millennials, poking fun at devices that listen to us, and lightly treading on political satire. 

Avocados From Mexico pokes fun at the millennial love of avocados.
Avocados From Mexico pokes fun at the millennial love of avocados.

Mocking Millennials, Again

If you’re a millennial (as I am), you may find millennial jokes tiring by now. But in this year’s ads, the media seems to be on our side with several brands playing on some of the typical ways people like to mock this generation. For example, millennials are often criticized for spending on unnecessary items such as avocados. In response, Avocados From Mexico stages a shopping network featuring absurd products for your avocado to use, such as a pool floaty or a bike helmet.

Another popular millennial jab revolves around a lax work ethic. In a similar vein, we see Cheetos and MC Hammer join forces to help one millennial escape his responsibilities using the excuse of ‘Cheeto fingers’. As millennials now make up a prominent percentage of our population, these blows nod to a somewhat thicker-skinned America.

Pringles jest about robot mind control forcing us to buy products.
Pringles jest about robot mind control forcing us to buy products.

Ears Everywhere

The idea that our devices are constantly listening is not a new one. As we continue to rely on technology and give up personal information, privacy becomes a more glaring concern. Even with this anxiety we continue using apps that may be leveraging our faces to strengthen facial recognition. A number of this year’s Super Bowl ads poke fun at our comfort with privacy invading devices. In Pringles’ and Bud Light Seltzer’s ads, Morty (of Rick & Morty) and Post Malone fall captive to mind control, respectively.

The commentary in the Pringles ad presents an extreme scenario of brands consuming our minds, encouraging us to buy new products. In the Bug Light spot, Post Malone’s brain is manned by a control center dictating which actions he should make when purchasing a drink. We complain about devices taking over, but still feed the problem. So at this point, perhaps it is best to just laugh at the continuing spiral of how much we rely on them.

Snickers asks the big questions. Is a world where moms send nudes one we want to live in?
Snickers asks the big questions. Is a world where moms send nudes one we want to live in?

Tip-Toeing On Political 

In post-2016 election Super Bowls, some brands took a political stance, alluding to their position on the Trump Administration actions like building a wall. However, this year’s ads transcend any political stance by instead mocking the general political climate in the US, including how non-Americans perceive the country’s unrest. In a jovial song, Americans band together to #FixtheWorld by feeding it a giant Snickers. The ad features babies named Kale, moms sending nudes, and influencers falling into an enormous hole. Budweiser approaches this same satire in a more subtle way, playing on negative American stereotypes. The narrative dismisses a ‘typical American’ for being loud, while the ad shows a group of protestors speaking out on a cause. While the 2016 election showed an America more divided than expected, there’s still common ground between us. The ability to laugh about the ridiculousness of things like babies named Kale bands together people on both sides.  

In early 2017, many Americans wanted nothing more than to escape the turbulence of the United States. Advertising shied away from our new president and everything that came along with him. It helped us forget our troubles by transporting us to simpler times. Think, for example, of the silly humor of Bud Light’s ‘Dilly Dilly’ campaign. Today, as we’re in the depths of a trial aimed at impeaching the president, it feels as if the pressure has reached boiling point. These ads prove that we’re beginning to laugh at ourselves again; and as we prepare for another presidential term, this satirical American voice helps cut the tension.