Exploring KFC Canada’s Viral Victorian-Era Abandonment of Manners

Have you ever eaten something so breathtakingly delicious that, in the rush to consume it, you temporarily forget all table manners? Whether you’ll admit to it or not, the answer for most is probably yes. Unless you’re someone who exists within the ‘eats to live’ category, there’s likely been a special meal at some point in your life requiring entirely dedicated focus, and which was only improved by abandoning decorum. In many ways, it’s a universal experience – something the majority can understand, even if they may feel sheepish about acknowledging it.

This concept is something that has long resonated with KFC, a brand built around food meant to be eaten by hand, proudly flying the flag of its slogan,‘It’s Finger Lickin’ Good’. And this is exactly why its Canadian variant, alongside creative agency Courage Inc., decided to take this to the extreme with a brand new campaign.

Directed by Partners Film’s Martin Werner, ‘Sorry Manners’ delivers a recreation of a Victorian dinner party to stunning effect. From horse-drawn carriages to elaborate wigs and costumes, everything feels like it could have come straight out of ‘Bridgerton’... until the food arrives at the table. Witnessing an array of KFC offerings for their eating pleasure, the guests abandon any sense of restraint and truly go wild. Fistfuls of fried chicken and french fries are seized, food flies through the air, and gravy is poured from extraordinary heights. It’s hilarious given the setting, yet also entirely relatable – a clever way to not only reinforce the brand’s menu quality, but tap into viewers’ animalistic desire to consume delectable items in such unapologetic fashion.

To learn more about how this visually-striking spot came to life, LBB’s Jordan Won Neufeldt sat down with the director, Martin, KFC Canada’s chief marketing officer, Katherine Bond-Debicki, as well as Courage’s chief creative officer, Joel Holtby, and executive producer, Clair Galea, for a chat.

LBB> The idea of a Victorian dinner party collectively abandoning table manners for KFC is hilarious! Creatively, what was the brief, and what made this the right way to explore it?

Katherine> The brief was simple: reawaken the crave in our core. With recent product improvements, we want to remind consumers of the irresistible taste of KFC. Only KFC can deliver a crave and eating experience that is a conduit to a moment of escapism, including forgoing manners in the pursuit of food enjoyment.

Playing this brand and product truth against the backdrop of a prim and proper Victorian dinner party is the ultimate metaphor; when ‘It’s Finger Lickin’ Good’, even the most well-mannered guests can’t help themselves.

Joel> That insight – that KFC is so good, you forget your manners – was our jumping-off point. The idea of placing that truth in a setting defined by extreme etiquette made the contrast instantly funny. So, we leaned into the absurdity of buttoned-up Victorians losing their composure over a bucket of KFC. It made the message land in a way that was both unexpected and unmistakably ownable.

LBB> Bringing the period to life in such an authentic way really adds to the silliness at the end. With that in mind, what was the writing process like? How did everything come together?

Joel> We started by immersing ourselves in the world of Victorian etiquette – reading old manuals, watching films from the era, and building a language that felt formal and believable, but still had room for comedy. The contrast between the overly polite dialogue and the physical chaos of fried chicken flying everywhere created a natural comedic rhythm.

We wrote toward that tipping point – that moment when the facade of civility crumbles – and structured everything to build tension toward that payoff.

Katherine> We also placed an emphasis on ensuring the idea delivered on the crave of our food and the liberating experience of eating KFC. Every bite, finger lick, and moment of anticipation – these were carefully crafted to feel true to what Canadians know about the KFC experience, while creatively showcasing it in a way that entertains and feels fresh. It was all about celebrating a way of eating that makes you say “sorry… but not really”.

LBB> Of course, director Martin Werner was a huge part of bringing this spot to life. Martin, why was this something you were interested in, and Clair, what made him the right person for the job?

Martin> The ‘Sorry Manners’ tagline and the bold, fun idea of telling a story about a bunch of decadent and fine folks eating KFC in a period-piece dinner party felt refreshing and visually potent. I immediately thought that the creative concept gave us the ammunition to create a visually strong film, while also saying something new about the joy of eating KFC.

Clair> Martin has an incredible ability to bring cinematic quality to comedy. His reel showed an eye for visual storytelling and a deep respect for tone, which was essential here. We knew the humour would only work if the world felt real, and not spoofed – something which Martin understood immediately. He was collaborative, thoughtful, and had a clear vision for how to elevate the idea without losing its soul. Every detail, from the casting to the china patterns, got his full attention.

LBB> The talent and costumes are both standout aspects of the final spot. How did you approach these challenges, and make sure everything felt period-perfect?

Martin> Audiences, having seen multiple period films, are familiar with this kind of setting. I thought of Milos Forman’s ‘Amadeus’, so we all had some pretty high-end criteria for the look and feel.

I aimed to ensure the cast felt diverse and enjoyable to watch, and that each actor delivered compelling and intense performances when it came to the eating scenes. To build this vivid ensemble, we brought on my favourite casting director from Barcelona, Edu Prado, to lead a pan-European casting. I think he really elevated the film.

LBB> You shot in Prague – why was this the right location for filming, and how did it go? Do you have any anecdotes from on set?

Martin> I knew immediately that we needed to shoot in Prague and team up with some friends I have there who have worked on loads of period films, and would be able to bring the project to life. I was also confident we would find the right location there. Luckily, Gigi Realini, the executive producer at Partners Film, and Courage agreed.

Thanks to thorough preparation and shooting with multiple cameras, we were able to capture the spot in a one-day shoot. Working with the director of photography, Ottar Gudnason, is always both fun and extraordinary. He’s fast, but also extremely precise and detailed in how he handles the lighting and other technical elements, so you can achieve a lot in a short amount of time.

Clair> The shoot was genuinely joyful, which isn’t always the case when you're dealing with period costumes, food, and flying chicken. One moment that stands out: between takes, some of the actors stayed in character, quietly apologising to each other while wiping grease off their gloves. It was hilarious and weirdly fitting for a campaign called ‘Sorry Manners’. There were also a few moments where we had to reset scenes because the cast broke character from laughing – always a good sign.

LBB> The song choice for the final spot is amazing! What was the search process like, and how did you end up with the selection?

Joel> Music was critical in setting the tone. We wanted something that matched the refinement of the setting, but could also carry us into absurd territory without becoming camp. To do this, we knew we needed to develop our own baroque-style track with live musicians that felt elegant, restrained, and just the right amount of cheeky. Once we paired it with the visuals, we knew it was the one; it gave the spot a certain theatricality that elevated the whole thing.

LBB> And what was the post process like? How did you work to bring your initial creative vision to life?

Clair> Post was where the magic came together. Our edit had to balance buildup and payoff, making sure we didn’t give the joke away too early. To this end, the sound design was especially crucial, especially those little moments – the clink of silverware, the rustle of a napkin, the crunch of fried chicken – which all added texture and rhythm.

Colour also played a big role. We wanted that rich, almost painterly palette to reinforce the period feel while making the food irresistibly golden.

LBB> Overall, what challenges did you face during this project? How did you overcome them?

Martin> It was the time we had to do it, and making sure all our high ambitions succeeded in just that one day. But it was a team effort. Everyone, from Courage, to KFC, to the local team, and Partners Film, really worked well together. It’s often like that – when a bold and aspirational idea is made, everybody wants to do their best!

Clair> The biggest challenge was the complexity of worldbuilding – making it feel authentic without getting bogged down in historical accuracy for accuracy’s sake. We weren’t making a drama; we were building a comedic contrast. Striking that balance took time and constant conversation between creative, production, and client. But everyone was aligned on the tone, which made decision-making faster and easier.

Katherine> Striking the right balance between period drama and the modernity of our food and brand was no small feat. Whilst the idea is built to entertain, we didn’t want it to feel like a sketch or parody – it had to feel premium, while still being unapologetic. Getting the tone just right, especially with such a beloved slogan returning, took time and precision.

Overcoming these challenges was simple in theory, but complex in reality. First, we had to have creative trust and courage across our teams. Commitment to the idea was key, and we couldn’t shy away or play it safe in execution. Secondly, craft matters. We leaned heavily on pre-production testing and a tight collaboration between brand, agency, and production teams to make sure it hit that sweet spot.

LBB> Since launch, how have people reacted to this campaign?

Joel> The response has been overwhelmingly positive. People love the visual surprise and the commitment to the bit. It’s been shared organically, picked up by food and culture blogs, and even got a few etiquette experts chiming in with approval (and amusement).
We’ve also seen strong engagement from younger audiences, who connected with the humour and tone (always a win when you’re dealing with a legacy brand).

LBB> How did this campaign fit into KFC’s plans for 2025 and beyond?

Katherine> This campaign fits into our larger plan for brand modernisation through communications and investments in taste leadership with key product improvements, including the launch of marination on our ‘Chicken on the Bone’ recipe. It’s a key milestone in our broader strategy for 2025, and while we could have communicated that in a purely functional way, we chose to go further. ‘Sorry, Manners’ intentionally leads with emotional connectivity to stand out.

LBB> Finally, is there an element of this campaign you’re most proud of?

Katherine> We’re incredibly proud of how the campaign breathes fresh life into an iconic and timeless tagline with wit and energy, while maintaining the integrity of the brand. But, if we had to pick one thing, it’s the way people immediately ‘got it’. The Victorian dinner party wasn’t just a visual gimmick, it was a vehicle for a real brand truth. That blend of being undeniably KFC with craft and relatability is something we’ll keep chasing.

Martin> Our team’s efforts. You are never better than the weakest part of the chain when you make a film, and there weren't really any weak parts on this project.

Joel> We’re proud of how cohesive it all feels. Every element works in service of the same central idea: that KFC is so good, it makes you forget your manners. That level of craft and commitment across every touchpoint – that’s what we’re most proud of. (Also, we made eating fried chicken in white gloves look genuinely cool. That’s not easy.)