Work of the Week 22/08/25
Hinge - It’s Funny We Met on Hinge
Chosen by Ben Conway, Americas reporter
In December last year, dating app Hinge and creative agency Birthday launched 'It’s Funny We Met on Hinge', a new campaign building on the brand's philosophy of 'No Ordinary Love'.
The original campaign interviewed seven real couples who found (or rediscovered) each other on Hinge - intimate tableaus of nuanced modern relationships and how they came to be. This week, director India Sleem has returned – this time with production company Somesuch – to direct a sequel series with seven new couples, and an updated cinematographical approach.
This latest chapter, as expected, still involves candid reflections from couples with their own unconventional stories - of unexpected meet cutes, rekindled relationships and more. But this time, the stylish portraits are expanded with more, prolonged cutaways and handheld camera shots, and are slightly toned down visually, while offering equally charming insights into the couples' dynamics.
This new update to the campaign adds a dynamism in its filmmaking that the first installation lacks, and while some may prefer the more curated, fashion-film aesthetic of the first edition, there is an undeniable authenticity that shines throughout the new spots' wider shots, outdoors environments and more naturalistic visual choices.
I certainly spent more time engaging with the love stories this time around, rather than lusting over interior design and colourful clothing like I did with the original.
Vera Bradley - Most Perfect Couple
Chosen by Aysun Bora, Germany reporter
Accessories brand Vera Bradley and agency, CALLEN, go all-in on this retro trip down memory lane – and it pays off. This campaign is a real fan fiction come true. Author Kirsten Mulrooney wrote a story of her celebrity crush, Devon Sawa, and herself falling madly in love, and Vera Bradley made it happen 23 years later with this spot. The best part – they are both playing themselves in the film.
This campaign is so unapologetically 2000s camp, you just have to love it. From the dumb phone, to the over-the-top styling and exaggerated acting, everything is on point, reminding you of ‘13 Going on 30’, ‘The Princess Diaries’ or ‘Lizzie McGuire’.
The nostalgia is part of the brand messaging as well. The film aims to bring back the cultural significance of the accessories brand.
For me, this is not only a successful spot, reminding customers of the beloved qualities of the brand, but also a really fun and cosy watch.
Bournville - Made to Be Enjoyed, Not Endured
Chosen by Laura Swinton Gupta, editor in chief
When launching the first major advertising campaign for a brand in almost 50 years, the temptation would be to create something splashy and enthusiastic, loud, self-congratulatory, bombastic. When it comes to this new ad for Cadbury’s dark chocolate brand Bournville, however, VCCP have approached it in the most British way possible. Dry, bitter, understated, absurd. Which are also the flavour notes of dark chocolate, come to think of it.
Based on the insight that the upmarket dark chocolate products that have emerged on the scene since Bournville’s heyday seem to almost fetishise how ‘challenging’ they are to eat, willy waving over impossible high cocoa contents. Bournville, in contrast, offers up an alternative: dark chocolate that’s actually enjoyable.
Leaning into the perverse snobbery of masochism (like an updated ‘Four Yorkshiremen’ sketch), comedy writer Simon Blackwell (‘The Thick of It’, ‘Peep Show’, and ‘Veep’) has joined forces with the creative team to concoct a deliciously withering script. Outsider director Harold Einstein and Arcade editor Dave Anderson dial up the awkwardness in a spot that’s pure craft.
StreetDoctors - The Fatal Question
Chosen by Alex Reeves, managing editor, EMEA
The shocking insight at the heart of this anti-knife violence campaign is that young people in the UK are increasingly asking the question: ‘Where is a safe place to stab someone?’ Feeling pressured to carry and potentially use a knife, they want to know how they can do the least damage. The answer is that no stab wound is without risk – which is the message that Saatchi & Saatchi and The Glue Society highlight in this unique installation piece.
My colleague Olivia Atkins was on set to see the creative take shape and the seriousness of the message landing with the young people there on the day is palpable. I really hope that schools, youth clubs and various online spaces will use this to educate young people at risk of knife violence. Because the impact it makes could help save lives.
Gap - Better in Denim
Chosen by Zara Naseer, EMEA reporter
There’s something so hypnotic about group choreography. I remember when Justin Bieber’s music video for ‘Sorry’ came out, and everyone in high school would rewatch the visuals to focus on a different dancer each time (girl in green was always the favourite). More recently, Jungle’s ‘Back On 74’ did the rounds on TikTok for the same reason, with users quick to upload their recreations. Gap’s ‘Better in Denim’ film has very quickly achieved the same success – over a million views in the first day – as girl group of the moment, KATSEYE, dance to the one and only ‘Milkshake’ by Kelis.
It’s not the first time Gap’s gone for this creative approach, and it’s actually a funny story. Its ‘90s and ‘00s dance commercials inspired ‘Back on 74’ in 2023, which in turn inspired the brand to revive the strategy last year, recognising that it held renewed cultural power in the TikTok dance trend era.
It’s smart – show that your denim is comfortable enough to move in and looks great while you do it. Pair current popstars with a nostalgic anthem. Resonate with a younger generation of fans who are raring to rewatch and recreate.
I also can’t help but note that the timing of this is impeccable. Whether by sheer luck or otherwise, it’s positioned in direct opposition to American Eagle’s Sydney Sweeney campaign, with an ethnically diverse cast, energy to boot, and that sassy refrain: “better than yours.”
O2 - England, Meet England
Chosen by Paul Monan, head of creative excellence
The Women's Rugby World Cup starts today (Friday 22nd August) as England host the USA on home soil. To mark the occasion, O2 - long standing partner of England Rugby - has launched its 'England, meet England' campaign. Devised by VCCP, the campaign rolls out on TV, VOD, online, OHH, PR, experiential and social, with the aim of shining a spotlight onto the world's number one ranked women's international rugby side.
At the centre of the campaign is 'Dive', a hero film shot by Academy Films' Marcus Söderlund. Appearing to take place in a changing room, the team one by one jump out of the back of a plane and embark upon a descent into Twickenham's Allianz Stadium. It's an unexpected twist, cosmically soundtracked by Romy's 'Weightless', with some comforting brand iconography subtly used - the pale blue sky and clouds evoking a similar aesthetic to O2's long running bubbly colour palette.
Following the success and cultural impact that football's Lionesses had following their home tournament victory in 2022 (and recent triumph in Switzerland), both O2 and England Rugby will be hoping that the Red Roses can do something similar come September's final.
Apple - No Frame Missed
Chosen by Abi Lightfoot, Americas reporter
It felt really important to celebrate this campaign from Apple this week. Beautifully shot by director Renato Amoroso, the documentary-style 5:25’ film shows how the iPhone 16 Pro’s Action Mode can help people with Parkinson’s disease to get behind the camera lens once more.
It’s a brilliant example of merging product utility with emotional storytelling. Created by TBWA\Media Arts Lab LATAM, the film features the stories of three people and their families, showing the transformational effect that Apple’s accessibility features can have on their lives.
One particular moment in the film stands out above all for me: the pure joy of a proud father watching his son ride a bike for the first time. Thanks to Action Mode, Cornwall-based filmmaker, Brett, can get back behind the camera to capture the moment forever – the first stable video he’s filmed since his diagnosis at age 37 – truly one to watch, potentially with a tissue in hand.
Call of Duty: Black Ops 7 – The Guild
Chosen by Addison Capper, Americas editor
Ads for The Guild, a newly launched technology company, popped up in Wired, Forbes, Tech Brew and across Silicon Valley this week. “You don’t need more friends, you need more security," one claimed. “The biggest lie tech ever told is that it’s on your side," said another. Influencers weighed in. But none of it was real. The Guild is in fact a robotics company at the heart of Call of Duty: Black Ops 7, and this entire thing was a multi-platform stunt from Activision and 72andSunny Los Angeles to promote the new game. To quote 72andSunny's Zach Hilder: "The world stands at a crossroads, where technology could be humanity’s salvation or merely its self-destruct button." I fully respect how brazenly this campaign flaunts that.
Uber Taxi - Skip The Kung Fu
Chosen by Jordan Won Neufeldt, Canada reporter
While the sky’s the limit when it comes to the creative potential of adland, I never expected to see the worlds of martial arts films and musicals clash quite like this… especially not in service of promoting Uber Taxi.
That being said, I absolutely love the end result! Special’s decision to partner with kung fu specialist director Adam Liu and stunt coordinator Jack Wong on this Nick Cheung-led spot creates a real visual spectacle. Setting the work in the bustling streets of Hong Kong, and depicting the struggle to hail a ride is a relatable insight for the local audience. And, the rewritten version of 'Who Is a Big Hero', soundtracking all of it? So fun and catchy!
(Also, shoutout to the aunty who steals Nick’s triumphant moment right out from under him – it’s a hilarious way to wrap up this memorable creative endeavour).
Commercial Radio & Audio Australia – Power of Audio
Chosen by Zhenya Tsenzharyk, UK editor
How powerful is sound? Powerful enough to put out a fire. And if you can’t quite believe it, see Thinkerbell’s latest work for Commercial Radio & Audio (CRA).
Proving B2B marketing is as interesting and creative as people dare make it, Thinkerbell set up an arresting visual metaphor, produced by Glue Society, to show that audio doesn’t play second fiddle to other forms of media. The work is based around a specially-designed audio score that, when set at the right frequency, has the ability to extinguish a fire with a film showing exactly that. It also marks the debut of CRA’s new sonic brand identity, created by audio specialist David Konsky. Sure to have the intended effect, the work is a powerful reminder of the impact audio has.
HORNBACH - No Project Without Drama
Chosen by Tará McKerr
HORNBACH has done it again. Directed by Lope Serrano and created in collaboration with Heimat TBWA\, the film is a love letter to craft and a rollercoaster for the senses. Following a glaringly amateur DIY-er, the story dramatises the ups, downs, and emotional monsoons of homeware projects. A choir of onlookers sound the crashes, cries, gushes and droplets of the protagonist’s nightmarish encounters with a bathtub.
More frequently than not, we’re watching from outside of the set, and are soon transported to some kind of make-believe world, feeling like we’re flipping between the pages of an epic fantasy where the stakes are higher than a well-kitted-out bathroom.
The oral-borne orchestra rises and crashes, holding your attention ransom for a lengthy 2:20, and oozes with satisfaction. Hats off to everyone involved here.
Guinness - Lovely Day for a Guinness
Chosen by Alex Reeves, managing editor, EMEA
Guinness’s latest Premier League work, launching as the season began last weekend, is refreshing for one simple reason: it feels real. Instead of polished stereotypes of fandom, director Tom Green spent the 2024/25 season shoulder to shoulder with genuine supporters from all 20 clubs. The result is a collage of balcony DJs, nail-art rituals, crowded flats and quiet devotion that captures the ‘lovely days’ surrounding every fan's match day schedule.
It’s a campaign that understands football isn’t just the 90 minutes, it’s the belonging, community and (as soppy as it might sound) love. Guinness isn’t just sponsoring the league, it's celebrating the less rowdy side of the sport. Some fans might not accept that, but for many, this will feel welcome.
Concern Worldwide - It’s Our Concern
Chosen by April Summers, North America features lead
This one hits hard because it addresses, head on, one of humankind’s ugliest traits. The way we turn our heads away in times of need, when faced with issues that do not "concern” us directly. Identifying this Achilles' heel of society, Droga5 Dublin, part of Accenture Song, and Concern Worldwide have (quite literally) used this concept to demonstrate that the suffering of one is the suffering of humanity.
Motherland delivers cinematic, emotive storytelling which will shake viewers out of their complacency. By drawing the parallels between Irish history - Concern Worldwide is an Irish charity - and modern global crises, this film presents a case that, frankly, cannot be argued with.
Electrolux - Wash Life Balance
Chosen by Olivia Atkins, EMEA editor
I like this campaign for its simplicity, both in execution and composition. Every frame feels calm and curated, almost convincing me that washing could be effortless rather than the faff it usually is. The humour is gentle and disarming, bringing a smile with its promise of more time for fun and less for chores. With its Swedish lifestyle cues and uplifting chorus, the campaign feels both charming and strangely aspirational, a reminder to slow down, reframe what we value, and try to find balance.
