Work of the Week: 20/06/25
Channel 4 - Sorry, Not Sorry
Chosen by Zara Naseer, EMEA reporter
‘Channel 4 Issues a Public Broadcast Apology’ read the headline. I was shocked – what cancellable offence had it committed? The clickbait works and I’m so glad – this is a campaign people need to see right now.
Newsreader and journalist Phil Gayle delivers the message: in light of allegations that diversity, equity, and inclusion may have gone “far far too far,” Channel 4 is definitively not sorry. Sorry!
To a Brown woman witnessing a global dumpster fire, whose flames are stoked by anti-DEI fearmongering, this campaign felt like diving into water. That’s because it finally shows diversity for what it actually is: not a burden, a source of anxiety, or a pawn in a debate, but a playground for colour, excitement, richness.
It’s so good to watch something that focuses on the *fun* of a multicultural nation, and to feel not only seen, but celebrated – especially when it’s by a major, respected broadcaster. And while the same message may have been received as meagre lip service from the mouth of another brand, from Channel 4, it feels real: the film itself shows that it’s been walking the walk for years.
Topical, entertaining, authentic – a masterclass in content that connects.
Cinnamon Toast Crunch - ‘Must Cinnadust’
Chosen by April Summers, North America features lead
I won’t lie, when I heard that cereal cupboard staple Cinnamon Toast Crunch had released a ‘full-blown, true-crime-inspired cinna-square universe’, I was immediately curious. And craving cereal. But mainly curious.
With 57% of Americans consuming some form of true crime content, it’s no mystery why the breakfast brand is entering its ‘true crime era’. Leaning on what has become one of pop culture’s most addictive genres, the brand serves up a suspenseful, snackable ‘whodunnit’ brought to life by The Martin Agency, and inspired by the longstanding brand truth that CTC is low-key into cannibalism.
KFC Canada - KFChicane
Chosen by Jordan Won Neufeldt, Canada reporter
As a more recent fan of F1, I think KFC Canada and Courage’s endeavour here is proof that you can make meaningful and clever creative that appeals to old and new supporters alike. The insight guiding the work – that KFC buckets share colours with the motorsport’s chicanes – is one where you can’t help but acknowledge whichever keen eye originally spotted it, and then the execution itself is awesome. Placed on the right surface, at the right angle, with the right amount of motion blur, these iconic serving containers do begin to look like beloved parts of the Gilles Villeneuve Circuit – an unexpected but impressive outcome.
While I have plenty more nice things to say about the work, I’ll sum up my thoughts with a simple quote from one infamously speedy Dutchman, “Simply lovely.”
BMW - Octowaltz
Chosen by Aysun Bora, Germany reporter
An unlikely pair: an octopus and a BMW car. Dancing through the sea, this CGI octopus caught my attention. It is an unusual way for a car company like BMW to advertise its product. After the creature waltzes through the water, we, as the audience, get to understand the connection between the two.
The premise is that the BMW’s ‘Heart of Joy’ control unit combines typically independently car functions to create a seamless driving experience. The film posits that an octopus, because of its decentralised nervous system, can’t control its body from one central unit, which is simply untrue! Octopus tentacles are controlled in both a centralised and localised way.
Okay, science lesson over and back to the craft at hand.
It is a cute film, makes you smile, and is definitely memorable. May we all dance through life as carelessly as our little friend demonstrated in the ‘Octowaltz’.
Canva - Waterloo OOH Takeover
Chosen by Ben Conway, Americas reporter
Earlier this year, Canva had a wonderfully interactive OOH activation around London’s Old Street Station, but these new installations of billboard creativity have perhaps exceeded that.
Stink Studios, Talon and Grand Visual have brought the brand authentically into the real world, taking over 14 different boards around one of London’s busiest areas, and the special builds are likely to make anyone stop along their commute.
This time, the media placements themselves become product demos for different features of the graphic design platform. The ‘Remove Background’ tool? The billboard has its background removed! How often can a digital brand show exactly what it does with physical ad space?
The Wildlife Conservation Society - Save It For Dinner
Chosen by Sunna Coleman, reporter, Asia
A surprising and fresh take on conservation messaging, The Wildlife Conservation Society calls on fish eaters to save the fish – so they can 'Save It For Dinner'.
In collaboration with longstanding pro bono agency partner, McKinney, the campaign calls on the government to protect the Hudson Canyon which is home to hundreds of species of wildlife and currently vulnerable to threats like offshore oil, gas and mineral drilling.
To rally public support, the campaign took over New York and New Jersey’s local seafood markets by printing a petition directly onto custom fish wrapping paper, bringing awareness and a call to action directly into the hands of the people invested in maintaining a steady stream of fish.
It's clever in the sense that saving sea life is not just a battle for climate warriors and vegans, but those who sell and enjoy seafood too.
Koala – Proudly Tested on Animals
Chosen by Olivia Atkins, EMEA Editor
Humour in advertising isn’t just about getting a laugh — it’s a powerful tool for memorability, relatability, and brand differentiation. Koala’s new campaign, 'Proudly Tested on Animals', directed by Collider’s Dylan Duclos, exemplifies this perfectly. It lifts the curtain on a fictional, delightfully absurd R&D lab, transforming what could be a dry product feature into an unexpectedly joyful insight into its design ethos. The humour is cheeky but purposeful — it humanises the brand, makes complex innovation feel accessible, and earns attention across crowded channels. In an era where consumers are increasingly sceptical of polished brand narratives, a self-aware, playful tone signals confidence and authenticity. For a company already known for ethical production and product smarts, this campaign proves that taking the work seriously doesn’t mean taking yourself too seriously. It’s proof that smart brands don’t just inform — they entertain, and in doing so, create emotional connections that last far beyond the scroll.
Decathlon - Price That Offer So Much More
Chosen by Paul Monan, head of creative excellence
Sport can play a powerful role in character building and this DECATHLON campaign - from BETC Paris - taps into that insight by placing the retailer's affordability at the heart of a number of uplifting life stories.
The undeniable star of the campaign - which features three films and five visuals - is the seaside story of a young boy who, initially watching from afar, dons a pair of swimming goggles and embarks on a testing swim to join friends frollicking on a platform out in the bay. Shot by LA/PAC's Emily Maye, the film is 30 seconds of beachside beauty that certainly stood out for the crew here at LBB.
Rolling out in France, there's a universality to the settings, situations and stories which would work in markets all over the world.
Kia – Tasman Town
Chosen by Tom Loudon, AUNZ Reporter
The latest chapter of Kia’s ‘Tasman Town’ campaign features tennis champions Rafael Nadal and Ash Barty, with an all-star lineup of sporting legends turned tradies. From Innocean Australia, the spot showcases the ute's capabilities while expanding the fictional world where athletes pursue second careers.
‘Tasman Town’ is becoming an excellent example of sustained campaign storytelling. By gradually expanding its roster of athlete-tradies, the automaker maintains freshness while reinforcing its ute’s credentials.
Telstra - ‘App O’clock’
Chosen by Tess Connery-Britten, news and features editor AUNZ
