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The Marketing Architects
The Art and Science of Creative Effectiveness
00:33:21
Since 2010, the efficiency of highly creative campaigns has halved according to research by Peter Field. And the cost of dull advertising? U.S. brands would need to spend an additional $189 billion annually to make underperforming ads as effective as...
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- [00:00]
Angela Voss
Growth oriented creative doesn't happen in isolation. It stems from that strategic alignment with the brand's goals and the market dynamics.
- [00:10]
Alena Jasper
Marketing Architects hello and welcome to the Marketing Architects, a research first podcast dedicated to answering your toughest marketing questions. I'm Alena Jasper. I run the marketing team here at Marketing Architects, and I'm joined by my co hosts Angela Voss, the CEO of Marketing Architects, and Rob DeMars, the chief product architect of misfits and machines.
- [00:31]
Rob DeMars
Howdy.
- [00:32]
Alena Jasper
We're back with our thoughts on some recent marketing news. Always trying to root our opinions and data research and what drives business results. Today we're talking about creative effectiveness. What is creative effectiveness? How important is creative to overall advertising success? And how do you produce creative that is effective for your brand? I'm excited to share our research. Tee up today. But first I wanted to take a second to define creative effectiveness. I decided to use the IPA's general definition because we're referencing their work today. And that definition is Creative effectiveness is a demonstrated ability of creative communications to deliver significant, measurable business results such as sales growth, market share increases or improvements in brand health over both the short and the long term. And I think all of us as marketers probably heard that and thought, all right, yeah, creative effectiveness is definitely worthwhile.
- [01:20]
Angela Voss
But.
- [01:21]
Alena Jasper
But are brands executing on it? The study I chose for today can offer us some answers. It's from Peter Field and it's titled Selling Creativity Short. He found since 2010, the efficiency of highly creative campaigns has halved. And he believes this is because marketers are leaning into short termism and they're prioritizing quick wins and immediate results over the lasting brand equity that creativity builds. Then we combine this with shrinking budgets and we're left with what he calls a creative crisis. The silver lining is the fact that creativity's power hasn't diminished, it just isn't being used the way that it used to be. And we're going to talk about that today. If creative effectiveness is rare, how can you make sure that you're the brand that's doing it right? And we've heard versions of this same challenge before. It's been called the creativity crisis, of course. And in the extraordinary Cost of Dull, which is another famous creative study conducted By Peter Field System 1, Adam Morgan and the IPA, they quantified this challenge in dollars lost to dull TV advertising. And that included some kind of spooky stats like brands in the US would need to spend an additional $189 billion annually to make ads in the three dullest quartiles as effective as the top non dull quartile ads. And extremely dull ads require an additional $109 billion annually in media spend to achieve the same growth efficiency as non dull ads. And 15.8% of TV spend is spent on extremely dull ads which perform the least effectively. So it sounds like a lack of creative effectiveness costs brands enormous amounts of money. But first let's just talk about do we agree that creative effectiveness is important for marketers to focus on? And then do we think that the current overall lack of it is a big problem?
- [03:04]
Rob DeMars
Yeah, I was thinking it's kind of a funny question. Is creative effectiveness a concern? Right. And like, well, of course it is. Right? The creative's job, day one is to get attention, right? Like if you don't get attention, why are you even advertising? Right? That's like the front door to everything. But the idea that it's in decline is interesting. Did something happen in 2010 that made everything different and made the world change? And if you look at some of the macro forces at play, I think there is probably a case to be made that the world is different. Like is creative work all of a sudden becoming less creative from the 80s and the 90s? I don't know if the work has necessarily changed, but the consumers have. And you look at the onset of 2010 is really the golden age of digital marketing, right? When digital marketing really started to kick in and marketers started to taste the sweet heroin that is short termism, right? And to be able to measure everything now. And if you can't measure it, then why do it? And you start to have all those types of conversations which really changes the game on how you look at work. I think the other big macro change is our attention tolerance. You think about the more beer you drink, the more beer it takes to get drunk. And I think that's true with advertising. We have really trained humans to have a tolerance to creative in the attention tactics that are used to garner people's attention. It's like we're just becoming desensitized to even really good creative because we're surrounded by all types of different stimuli. And our attention tolerance has gotten down to like, geez, I mean, we really don't look at anything longer than what is it, four seconds now. I mean, how do you, how do you develop work in that world? So I think there's some serious macro trends in play that caused this creative crisis that even goes beyond the creative itself.
- [05:10]
Angela Voss
Back to your point about data and maybe the over reliance of data, the Better the world got at being able to measure the short, the worse we got at building for the long. You know. And so in a time where we were as an industry really trying to evoke emotion out of creative and it was the good, good old days, bad days. I don't know if it's good or bad or you know, what side of that coin we're on. But as we were able to track, geez, I had this message in market and I got a click or I got a conversion and the lack of understanding, I guess between short and long, like the combination of those two I think pushed us into I air this message or I put this specific approach out into the market and I get this response from. It really hurt the long game, that long term payoff of creativity. And then I think too the other thing that you pulled up for me in my head is just the organizational and structural issues that are maybe more complex within an organization than you used to have this marketing team and that was all encompassing creative data, et cetera, marketing, you know, all working towards the same goals. But poor collaboration between marketing, creative and data teams can hinder that development of a cohesive and impactful campaign. Just in terms of even what are we trying to do? Like where do we think the needle needs to be moved in terms of our audience potential and what messaging approaches might be effective both in the short and the long?
- [06:50]
Rob DeMars
Totally. And one evergreen issue with the development of creative and effective creative is fear. Right? Fear from the C suite to screw up and put something out there that might get them in trouble. Do you think that that is heightened in this era of being able to measure everything and oh my gosh, if I put something out, I'm going to be able to measure whether or not it didn't work. So I want to play it safe. Do you think that has anything to do with it at all?
- [07:17]
Angela Voss
I do. Especially in tv, when you're in a digital environment, it's maybe a little easier to ab test and let's look at this approach and that approach and see what performs better. But I think takes us right back to the previous point of short versus long and what's going to be memorable versus what message might drive the best response for an in market consumer today. And so really it boils back to the lack of understanding of marketing effectiveness with whomever that decision maker is. If we don't, you know, have a greater understanding of short versus long and how those two can play together, but how messaging strategies might be different between those two, it's easy to swing into one and go, I message this way, I get a response. I can see that data versus the hope that that long term effect is going to play off in building future demand and mental availability against my competition.
- [08:14]
Rob DeMars
For sure.
- [08:15]
Alena Jasper
Yeah, Ang, I think that you're right about that. And that makes me think about too. Just like there's not the same kind of culture of creativity in digital advertising than traditional. It's like you said, it's more focused on the short. So maybe a lot of marketers that are brought up there, they're just not. If you're entering TV as a brand, there's like an expectation, you might not meet it, but there's an expectation of the type of creative you want to have. And digital, it's so short term focused. You do see really creative digital ads, but they're rarer, I would say, and it's probably harder to do. Rob, I was going to add, you said that we only have four seconds of attention. And that's funny as I know that's not like a stat that you know is true that people have four seconds of attention. You kind of made that up.
- [08:57]
Rob DeMars
I, I made that up. It's some ridiculously short amount of seconds though, right, that you have based on like digital media channels, I thought.
- [09:05]
Angela Voss
Yeah, well, depends on the channel.
- [09:06]
Alena Jasper
Exactly. I was gonna say that this is Karen Nelson fields work, but she found, I think it's four and a half seconds is what we need to form long term memory structures. And the average attention for a Facebook ad is a second. So wow.
- [09:19]
Rob DeMars
A second.
- [09:19]
Alena Jasper
And then like you're saying if we don't like I think TV again, that's why it's better at attention and creativity, because there's at least a chance for the creative to be effective. Like if your average view is one second, that's a big barrier to be creative on Facebook to make someone actually stop and look at your ad for four and a half seconds.
- [09:37]
Rob DeMars
Do you think in 20 years if we were having this podcast, it would be like they only have 0.25 seconds on Facebook, like is it just gonna keep getting shorter?
- [09:47]
Angela Voss
I think we're trying to stop that trend. If it's going in that way. We are actively right now trying to stop that trend. Yeah.
- [09:54]
Rob DeMars
Oh my goodness.
- [09:55]
Alena Jasper
One other thing that came to mind was we've been talking about AI and how some people think that's going to help creativity, some people think it's going to hurt. But Ang, you were talking about the complexity of marketing teams and one thing I've heard Predicted with AI is that marketing teams are going to get a little bit more nimble and like, that could help creativity. Because if you don't have like some of these marketing organizations are huge. Like, how do you be creative on a high level when you have that many people, those channels, all the decision making that has to take place. So maybe that's one different way. AI is going to help with creativity is just more kind of lean, connected teams. And then Ang, you mentioned fear. Rob, you did too. Is that a big reason why? But I also see creative work a lot that is a creative and eye catching, but it still isn't good creative, like, you know, sometimes. So I think it could be fear, but it's also what comes before the creative. And is that understood?
- [10:49]
Rob DeMars
Well, I think that's a very important point, Elena, is there's the capturing of attention. That's table stakes, right? We've talked about that before in the podcast. Like you don't have an ad if you don't have someone's attention, but then it's what goes in the ad that makes it ultimately an effective piece of communication or not. I know, we'll talk about that more later, but that's definitely a very important point. That, yeah, the bar rooms are filled with people talking about great ads that they have no idea who the ad was for. Right?
- [11:21]
Alena Jasper
Yeah, I know. Rob, you give the example of if I needed to get high attention, like right now I would go light a billboard on fire. It's like mission accomplished. But dude, that doesn't actually lead you anywhere. But yeah, it gets you some high attention. So I want to talk a little bit about that, like how do we set ourselves up to create successful creative work? Because I hear a lot of people talk about creative effectiveness and usually the discussions are the one that we just had, which I think is valuable, but I'm more interested in. Okay, we know there's a problem. It could be for these number of reasons. Let's talk about how we can solve it. So how do we think marketers can set themselves up before the work is actually created to have a more successful creative end result?
- [12:04]
Rob DeMars
Yeah, I love that question, Alena, because really the success of an ad starts well before a copywriter and an art director sit down and crumple up paper and throw it at each other and brainstorm headlines. So I'd actually turn that question over to Angela because I know Marketing Architects does an amazing job with how to build a business process around developing great creative before it ever becomes even a creative brief.
- [12:29]
Angela Voss
We've talked about this before. If you don't start this conversation with your business objectives, we're probably not far enough up the strategy chain. You know, understanding of where your brand stands within your category growth oriented creative doesn't happen in isolation. It stems from that strategic alignment with the brand's goals and the market dynamics. So what's an example? For example, looking at your customer file, do you understand the composition of your current buyers? What percent are light buyers versus heavy buyers? You look at research from Aaron Burg Bass would show that growth for most brands comes from light buyers. And if you think about your own behavior, I'll drink a Coke. I'll also drink a Pepsi. You know, I'm not super overly loyal. And so how concentrated are you on a whale strategy of trying to find more of those heavy buyers? If a brand strategy has historically been focused on retaining or upselling heavy buyers, it's going to face challenges in achieving significant growth because it ignores the potential of broadening its appeal to that larger pool of lighter, more occasional buyers. And that is really important to know before we get into creative. You know, once marketers identify the need to target light buyers, the next step then would be to understand the mindsets and the preferences of those audiences. Light buyers are different than heavy buyers. They often have fleeting interactions with a brand. So creatives should focus maybe more on building memory structures, being recalled in buying situations, identifying category entry points or, you know, situations or needs that drive buyers into this category. Marketers can then create creative work that ensures their brand is strongly associated with those moments. So if light buyers in the category seek convenience or affordability, then the creative must emphasize how the brand delivers on those attributes. And there's a lot to go into there, but that's one example of how important it is and how we look at, you know, entering into the creative journey, making sure that it's really highly aligned and correlated to ultimately the success that we're trying to drive for the organization.
- [14:42]
Rob DeMars
Ange, what does it look like from an insight development side of things? Obviously, creative is fueled by great insight. What does that look like? The harvesting of an insight?
- [14:54]
Angela Voss
Yeah, I think that world is changing with the growth of AI. But I mean, obviously audience research, consumer research has been around for years. So there are a lot of methods that we have deployed and is always constantly in evolution in that space. But speaking back to what I had just shared, if we've been centered on a heavy buyer strategy and we feel we know those consumers really well, and now we're going to try to really Broaden the appeal of a brand into light buyers. Sometimes we don't know what those category entry points might be. And so that research, be it consumer done with actual humans or in in the new world leveraging AI to uncover insights there, can be really effective to inform then what that creative brief might look like.
- [15:44]
Alena Jasper
One other conversation that I really like is distinctive assets too. And can you have an idea of those before you produce your creative work? Because in an ideal world, you have a handful of distinctive assets that are unique to your brand, memorable, and you want to keep those in mind no matter what medium you're going into. Even something like tv, like if your brand has a certain color, like an audio mnemonic, obviously that's easier to use than others, or a mascot. You want to make sure that there's consistency. It's not always simple to incorporate all of your distinctive assets, but it's still important.
- [16:16]
Angela Voss
Absolutely.
- [16:17]
Alena Jasper
All right, well, something I always want to know when I listen to conversations about creative effectiveness is okay, I get why it matters. You know, I get the downsides of not having it. I know that things like emotion and story are important, but what exactly does that look like? If I'm producing work, what should I be looking out for? Or if I'm working with an agency, what should I be watching for when they make suggestions or, you know, show me work? So I wanted to talk a little bit about what are some of the elements of effective TV creative that we as a TV agency try to incorporate into our clients work.
- [16:50]
Rob DeMars
There's a handful of really cornerstone attributes or elements that make for a great commercial. And I'm going to start where we left off. And that is a great brief that contains an insight that's amazing. And I think people argue a lot about what's an insight. And I think people have different opinions about what an insight is. I'll give you an example of one that I've always kind of kept in my pocket. It started off early in my career. I was working for a cereal company. It was for a product called Frosted Mini Chex. And it was the account planner sat in a focus group watching kids eat this new form of Chex cereal that was, it was a fri. This is back again. This is late 90s when like sugar was all like a good thing and it was actually good for you and made kids grow strong and healthy. And so they noticed how the kids loved the Frosted Mini checks because they were smaller so it could get more frosting on the spoon. Right. And so the account planner said well, it's the ultimate delivery system for frosting. As a creative that just warmed my heart. I'm like, I can take that insight and go into so many different places with it. And so I think a great insight just inspires everyone. You're like, oh my gosh, I can't wait to do work for that creative brief. I think the second thing that we've talked about on this podcast many times is audio, and just the importance of audio. And especially when you're dealing with television, a channel where the majority of eyeballs retreat to their secondary devices during a commercial break if you are not trying to pull their ears back to the screen. So ultimately their eyeballs will go back to the screen. You're missing a key element. And so the importance of that voiceover and not just a music track with a bunch of supers. That's not doing your ad justice. I think to double down on audio is how do you look at audio mnemonics and that opportunity to create an earworm? And I know earworm is like one of the grossest marketing terms ever, but just like, is that ad burrowing into your client's ear through the use of some kind of audio mnemonic? It's such an underutilized asset. So definitely taking a look at that. You know, memorable characters are always great because they're also transferable into your other channels. And so you have the opportunity to personify your brand in some kind of character or asset. And then one that a lot of people will poo poo and I'll poo poo them back is the use of a really great cta, like, how are you offering something in the commercial, a reason to care, a reason to act, and a clear way for them to do that. Are you talking about having them go to their website and sending a text message? But CTAs are powerful. And I think, lastly, and I stole this line. I did not come up with it, but I said it a thousand times in my career that I'm an expert in my opinion. And I think that's the invitation to bring in pre testing. Like, I know what I think will work, and I know everyone on this podcast has opinions on what will work. But ultimately your consumers in charge, and they will tell you whether or not your creative will work. So why not pre test? And pre testing has taken on many flavors throughout the years, whether it's a simple focus group or a more highly quantitative survey panel. Now we're. We were actually transitioning to synthetic audience testing using AI and finding it Incredibly powerful and extremely accurate. But definitely the pre testing of creative is just another huge element to making a successful TV ad. Ang, anything you'd add one.
- [20:54]
Angela Voss
I would add that. It just always shocks me and I see it all the time. That's just not done well is just get full credit. If you're airing a 15, the goal is to get full credit for your brand in that 15 seconds or 30 seconds or 60 seconds, whatever your spot length is. I see far too often you watch and you're watching and there's the story. We've got to go. And not until the very end are you like, oh, that was for Honda. And not. No, no shade to Honda. I don't, I don't even know if the Honda's getting full credit for their ad. But back to the attention thing. Like if, if it's hard to, to get attention and then we're not doing full justice with it once we do have it. You know, just a, a big opportunity there.
- [21:39]
Rob DeMars
I love that term. I. Did you coin that or is that like full credit is actually. That's such a great point though. Like, are you getting full credit? I mean, you're paying for the full ad. Are you getting full credit? That's. That's great, Ange.
- [21:53]
Alena Jasper
Yeah, I like to sometimes try to guess who the brand is. You see it all the time. And I'm never right. I'll say that. I, like never get it right when you can't tell like the whole commercial. Like, I think this is for so and so.
- [22:03]
Angela Voss
Yep, it is fun when you do get it right because then you're like, okay, you for sure get at least a C, if not a D for not getting full credit. But when you do get it right, there's some level of distinctive assets that they're using throughout the spot that you're like, I was able to pick up on it. But like we're marketers and at that point you're like studying the ad. Like, let's remember that this is unfortunately a passive. Especially the commercial breaks.
- [22:28]
Alena Jasper
Probably depends too on your brand. Because you think about a brand like Apple, everybody knows their distinctive assets. They have a recent spot right now, which is a really sweet spot about their new AirPods. And it's about like a dad and his hearing loss and his daughter. And you know it's Apple right away because it's AirPods. But some of these smaller brands, you're kind of acting like Apple. None of us know who you are. Like, we don't recognize your distinctive assets and you probably don't get as much creative freedom in your spot because you gotta let people know right away.
- [22:55]
Angela Voss
Yep.
- [22:55]
Alena Jasper
Who you are, get the full credit. Rob, one thing. So you brought up, like, the insight. And we produced a spot for the agency recently. And I found that to be the hardest part because I feel like my team, like, we're all overthinkers, and we had a really hard time getting to an insight. And, like, nothing felt good enough. And finally we picked one, which I think was a good one because it was, like, clear, simple, universal. But it honestly, like, it wasn't as groundbreaking as I thought it would be, but it worked really well. So do you have any other advice? If you're a team of overthinkers and you can't seem to get to an insight, do you have any advice on what you could do?
- [23:33]
Rob DeMars
I think part of it just has to do with, can you uncover the story? Like, what's the story behind the product? It actually makes me think about one of our own products from years ago when we as an agency created our own products in the Hurricane. And saying, okay, well, what could be more dull than a walking cane? Right? But that's where we as marketers have to go to work and go, okay, well, every product has a story. You just gotta, like, stare at the product long enough. And I remember the creative director working on Hurricane, given the assignment, okay, let's make a really famous cane brand. Go. And I swear, Ryan just sat there and stared at this cane for, like, two weeks straight. I'd walk by his. His office, and I'm like, are you okay? Like, is he just be sitting there, like, staring at this thing? He's, oh, no, I'm good. I'm good. You know, we came back to the team and he's like, yeah, there's a real story here. I mean, this cane, you know, it has this unique base to it. Right. That allows it to, like, grip on different surfaces. And he's like, this isn't just a cane. This is the all terrain cane. This is a cane that empowers people's lives to go anywhere and do anything. You know, it's like, okay, this isn't a. A tool for the crippled. This is a tool for the empowered. There's the story, there's the insight. And I think just being able to stare at something long enough, spending enough time with it and knowing that there is a story, and that story, it gives birth to that insight, which can seem a little backwards, especially when we talk about, you know, it starts with a great insight. But I think insight and story are one and the same. It's just kind of a different way of articulating it. I think at the same time, I'm going to pick on that same product. Hurricane had a lot of science that went into the development of it, and we were both, you know, the advertiser and the client, and we committed a cardinal sin where we ended up doing a campaign. We're like, this thing is just so freaking awesome. And the science that went into it is just so great. And we made an ad that talked to ourselves, and we made an ad that just took what we thought was an insight, which was, oh, it's just, look at how fricking awesome the science was that developed into it, and nobody cares. We missed the story that connected to the consumer. So I think that's where you have to be careful on defining your story or insight. Is it truly the insight that the customer cares about or is it the insight that you, as the advertiser, cares about?
- [26:06]
Angela Voss
Always a good lens, like, job to be done, you know. Right. Because that really what it led to was the story, I guess, of empowerment. You're at this phase in your life where you're like. Like, people really fight getting a cane. It's like a cardinal transition from being, I don't know, aging, I guess, but to elderly. It's really emotional for them. And does this cane give you that stability? It's the cane that stands alone, kind of gives you your. You extend your life a bit. And we kind of made it cool. But you're right, we almost kind of went down the features, benefits, science. We all make mistakes and learn from them. You guys did really great stuff, though, too, with Stuffies, which was a child's toy stuffed animal with seven secret pockets. And we developed this jingle. Wasn't out of the gate, though, Rob, was it?
- [27:03]
Rob DeMars
It actually was, yeah. Yeah. We ended up making a jingle playing off of how much wood could a woodchuck chuck? It was, how much stuff can you stuff in a stuffy till your stuff? He can stuff enough stuff. And it was actually developed by our audio engineer at the time, Eric hall, who now heads up all of our audio production for the agency. But he was having breakfast with his son, and his son said it, and he's like, that's brilliant. And, you know, ended up scoring the jingle and turning into something that ended up getting sung on, I think, on the Tonight Show.
- [27:36]
Angela Voss
So, yeah, yeah, I remember that it went a bit viral for. For a little bit there and just exploded. I mean, I remember those Holiday seasons where we had to stop the agency and literally stuff boxes with stuffies to meet all the holiday orders. So it was a wild success. But I think back to your question, I guess, Elena, about insight too. Sometimes as an industry, we get a little over focused on the process to uncover the perfect insight. Is there a perfect insight really, you know, versus there? There's a lot of angles you can go down. In Eric Hall's case, it's, you know, inspiration from his kid and that's not necessarily the insight, but there are a lot of ways to play this. You know, I think if you're operating with a marketing effectiveness framework so that you're starting from the right place, you're valuing distinction over differentiation and have a solid understanding of how your competitors compete and things like audio, things like character become really impactful.
- [28:43]
Alena Jasper
Yeah, I think too, what like Stephies and Hurricane had in common was we really understood the audience, we respected them and we were able to find insights that really spoke to them. So I think that's, that's probably why it's so important to start with your customer in mind and not just your brand when you're producing work. So this is a really great discussion. I wanted to try to end with one more sort of example, which would be it was there an ad that you saw recently that you feel like really met the criteria for effective creative?
- [29:15]
Rob DeMars
You actually stole mine or someone did. Let's see. I think it was whoever brought up the Apple ad with the AirPods.
- [29:21]
Alena Jasper
I did.
- [29:21]
Rob DeMars
Oh, thank you. That is a powerful way of again, finding the story in the product and just connecting to the heart of the consumer. But just clear, like, you cannot remove the insight from the commercial. And you know, it's just, it's so core to it. It's just, it's genius.
- [29:39]
Alena Jasper
And I feel like I've been waiting. I was thinking the hearing aid category had the same opportunity that the hurricane did. Like, that ad was like, like a beautiful, like empowering, inspiring ad. And I know that people have the same barriers to getting hearing aids. There's a lot of resistance and I'm amazed that nobody has done that yet. And now Apple did it. But yeah, I've heard a lot of people talk about that ad.
- [30:02]
Angela Voss
I thought about this for a while. I landed on one that, that does break one of the rules that you talked about, Rob. So I don't, I don't have a perfect example, but I was going to go with Amazon Pharmacy. I don't know if you guys have seen this campaign, but it's story based. It's engaging, It's a little funny. One of the spots is a guy is in line at the pharmacy waiting to purchase his mom's. I think he's picking up his mom's medication and she should have used Amazon pharmacy. That would have been delivered to her. Instead, he's waiting in line and there's a guy at the front that's buying like half of the store at the pharmacy counter. Which of course is frustrating if you're trying to get in and out quickly. But early branding, heavy audio, like there was a lot that they did really well. Got full credit for the ad. The portion that I felt they missed on was the clear CTA at the end. Very easily could have done a, you know, visit or QR code CTA to check if they accept your insurance. Almost half of all adults have taken a prescription in the last 30 days. So presumably there's a lot of in market opportunity to potentially grab. So that was the piece I felt they kind of missed on.
- [31:14]
Alena Jasper
Yeah, I haven't seen that ad. I'll have to look it up. I have two. I can pick one. One is a classic that they continue to run again and again, which is mayhem. I think it's just such a great example of a unique character. They're funny, they stand out in their category. And he's very transferable to different ads. I mean, they've been doing mayhem for like a decade now and it still feels funny and new, all the concepts.
- [31:36]
Rob DeMars
That's so funny you bring that one up. Because I was just thinking about it the other day because they've been running those in the movies too, movie theaters, and they just, they keep coming up with good ones. I'd say it's just, it's so evergreen.
- [31:47]
Alena Jasper
Yeah, they're really funny. My personal favorite one was when he's like on the peloton bike and he flies back like through a glass window. Yeah, they're funny. And then my other is actually Rob, an example of, I think what would qualify as an earworm, which is the paxlovid commercials. When they say if it's Covid paxlovid and that like. So this morning my husband was sick and I was like, oh, maybe you should take a COVID test. And the first thing he goes is, well, I, you know, if it's Covid paxlovid, like, it's just so. It's so annoying but so stuck in my head forever. So I don't know if they picked that name because it would rhyme or if There was just a marketing team that all of a sudden realized it. And if it was the marketing team, I would have loved to be in the room when that happened, because that must have just been, like, the biggest. Like, oh, my gosh, it rhymes with.
- [32:34]
Rob DeMars
COVID That is a great one.
- [32:37]
Angela Voss
And in a field that typically we. We don't talk a lot about marketing effectiveness in the farm field, it stands out.
- [32:43]
Alena Jasper
Yeah, it definitely stands out. Although, you know, they can only talk about that fun rhyme for about five seconds, and it's just, hey, here's everything bad that's ever going to happen to you once you take this. All the disclaimers, but still. So it's an accomplishment. You're right. To get some creativity into those ads.
- [32:57]
Angela Voss
Yeah, for sure.
- [32:58]
Alena Jasper
All right, I think that wraps us up. That was fun.
- [33:01]
Rob DeMars
Fun episode.
- [33:02]
Alena Jasper
That's it for this episode of the Marketing Architects. We'd like to thank Taylor De Los Reyes for producing the show. You can connect with us on LinkedIn. And if you like the podcast, please leave us a review. Now go forth and build great Marketing Architects.