By Chandler Atton & Anthony Vagnoni
One might think, with all the changes happening across the TV commercial landscape, that the Super Bowl would somehow become less super than it’s been in the past. Is the Big Game still adland’s night of a thousand stars? Has the passion, pathos and pizzazz of this annual event lost any of its luster? This is what keeps us up at night here at The Howler.
To find out, we turned to a panel of industry pros, all of whom have had their hands on Super Bowl ads in one way or another over the years. Our Super Survey panel includes the following:
Ben Purcell, Chief Creative Officer, David & Goliath: While Kia may be sitting out Super Bowl 59 (don’t worry, the brand is still up to something amazing), its agency certainly isn’t sitting on its hands. During the course of his career, Ben has worked on more than a dozen Super Bowl campaigns, from the Cannes Lion winning “Eco-Warrior Melissa McCarthy” Campaign for Kia that’s among the highest rated of all time to the “Robo Dog” Campaign for EV6 that helped 10,000 pets get adopted.
Sophie Gold, President & Executive Producer, ELEANOR: A 2021 alumnae of the Ad Age ‘40 Under 40’ list – and a rare member of the production community to make it onto Ad Age’s radar – Sophie has led the growth and development of this brand with an expert hand. Founded a mere five years ago, ELEANOR was recently dubbed a Production Company to Watch by Creativity.
Drew Santarsiero, Executive Producer, SMUGGLER: Drew has produced more commercials than you can count, including some of SMUGGLER’s most-awarded spots for clients like Sandy Hook Promise (which earned two EMMY Awards). Originally based in New York, he got his start in the film department at ‘Saturday Night Live,’ producing, of all things, TV commercial parodies. With a showreel that’s won every major trophy in the business, he’s been on the inside of more than his share of Super Bowl pressure cookers.
Laura Regan and Jordana Freydberg, Executive Producers at Biscuit Filmworks: This dynamic duo is taking part in our Supe’ Survey as a tag-team combo, with Laura representing the younger generation, having been named an EP at Biscuit in ‘23 (and having her first Super Bowl spot in LIX), while Jordana provides the more seasoned view, having been at the EP level at a roster of top-rated production houses for over a decade, joining Biscuit in ‘21.
Heather Richardson, Executive Producer, Cutters Studios: A versatile and experienced post production EP, she’s shepherded popular and award-winning Super Bowl ads for such brands as State Farm (starring Arnold Scharzenegger), Jeep (starring Bill Murray), Rocket Mortgage, BetMGM, LIFEWTR, Nintendo and WeatherTech.
Has making Super Bowl ads gotten harder than in the past, given how schedules, budgets, deliverables and client expectations have continued to shift?
Ben: When you’ve been consistently creating Super Bowl campaigns for the last fifteen years, you learn to work smarter and to maximize assets. You lean into the relationships you have with directors, production companies, and artist-driven VFX studios to ensure they’re available at a time when they really aren’t. As we’ve discovered, a successful track record is the best recruitment tool for finding partners to be part of the journey when timelines and budgets are tightened. But what’s key is to never get complacent with what’s worked in the past. That way, even if your clients take a year off from buying ads in the Super Bowl you find new ways to engage and be top of mind.
Sophie: Absolutely. The landscape has changed dramatically. The scale and ambition of Super Bowl campaigns mean that production companies are no longer just executing a single hero film; they’re delivering entire ecosystems of content—behind-the-scenes assets, teasers, social cutdowns, and interactive components, all with compressed schedules. Client expectations have also evolved; they’re not just looking for a great spot, they’re looking for cultural impact. That means directors and production teams have to be strategic from the outset, balancing creative integrity with marketing demands, all while navigating tighter turnarounds and higher stakes.
Drew: Personally speaking I think they’ve gotten a bit easier. When everyone is focused and bringing their A game the results are better and production more streamlined. Given the social aspect there’s a flashlight on so much more than just the main spot, so failure is just not an option. The budget squeezing has been the biggest hurdle, but when we’re operating on this level we always figure it out.
Heather: Our experience is that the budgets are more or less holding up which makes the condensed schedules and increased deliverables less of an issue.
What has the instantaneous response of social media done to the pressure on making a Super Bowl ad that’s a hit? How has it magnified this? Or complicated things?
Drew: I find we all do our best work when the stakes are higher. A long form version usually hits first and many times it’s everyone’s favorite version so if it’s received well it takes pressure off game day. It also gives the industry time to really absorb their favorite work.
Ben: The instant response and the desire to release your creative earlier and earlier has magnified the pressure, and shifted that pressure earlier. But it’s worth it, because it also leads to an even bigger snowball effect as the attention continues to grow. Knowing how to amplify those positive affirmations is all part of the game.
Heather: Social media encourages debuting the work before the game, of which I’m not a fan. I love the day of surprise. That being said, I’ve seen some really clever teasers made possible by different social platforms.
Jordana: It’s definitely had a huge effect. The quickness with which people start discourse during the Big Game about what they are seeing is insane. But this can be used as an advantage. For instance, Mischief’s brilliant idea, when everyone thought their TV had gone out, was in their 2023 ad for Tubi. If you aren’t harnessing it properly, it can backfire. But, if you know how to harness it, it’s a whole other layer of engagement that you can bring to the creative strategy. The expectations for the level of engagement now with celebrities, with them posting on their socials, is all written into the deal. It’s taken it to a whole other level.
Laura: Trying to identify who or what will still be a part of a collective cultural moment months in advance is a real challenge. Relevance is so fleeting. So, the big challenge is to identify who and what is going to hit in February. Uber Eats has Martha Stewart, Charli XCX, Matthew McConaughey, etc. They did a great job. But you’re running a risk. It’s such a big part of these spots and it must be really challenging to make these decisions with so much money on the line. Take teasers as well, which we’ve seen a ton more of recently. Clients and brands are trying to get the most bang for their buck, hoping it will go viral before game day even arrives.
Sophie: Social media has completely rewritten the rulebook. In the past, you could wait for the Monday morning reviews; now, you know within minutes if your spot is resonating—or if it’s being torn apart. The virality factor is both a blessing and a curse; a great spot can take on a life of its own beyond the broadcast, but a misstep is amplified instantly. It has also pushed agencies and brands to think about longevity: a Super Bowl ad isn’t just a one-night event anymore—it has to live and breathe across multiple platforms, engaging audiences before, during, and long after the game.
In your opinion, do younger directors, editors, creatives, agency producers, etc., get as jazzed about working on Super Bowl ads as people used to in the past? Is this still something to brag about?
Heather: Yes! The Super Bowl is still the ultimate brag. It’s the only time of year that people outside of the industry really pay attention to commercials. It’s fun to have your Great Aunt and your old neighbor excited about your work.
Drew: 1000 percent! I’ve probably worked on over a thousand productions in my career and I still call my mother immediately when I’m going to be involved in a SB spot. It’s the apex mountain of our industry.
Sophie: There’s no denying that the media landscape has shifted, and younger creatives are inspired by a broader range of platforms—social-first content, experiential, gaming, and beyond. But the Super Bowl still holds a unique prestige. It’s the one time of year when advertising is not just tolerated but actively celebrated. It’s an opportunity for directors and creatives to push boundaries, work at the highest level, and reach an audience of over 100 million people in one night. That kind of cultural footprint is rare, and the best talent, regardless of age, still understands the significance of that.
This Is the News!
The Howler brings you the latest in production and post to your inbox – twice weekly.Subscribe
No spam. Unsubscribe anytime.
Laura: We think so! In the US, it’s still the one moment throughout the year that we know millions of people are watching. Young directors and creatives still see it as an opportunity to make work at the highest level. It’s interesting, I’d thought that maybe that would start to fade, but it feels like the opposite. Maybe with the prevalence of social media, and how tapped in we all are to what’s current and what’s going on, there’s even more of an emphasis on it. Maybe it matters even more to young people.
Jordana: I feel like since there’s no mono-culture anymore, this is one of the only remaining platforms left to reach almost the entirety of the American audience, and even beyond, globally. If you’re an aspiring filmmaker who wants to be a household name someday, this is one of the only platforms where you will be talked about more broadly. In our industry it’s still a major thing. Look how strongly people react when an unknown director directs a Super Bowl spot! I mean, Matthew Dillon Cohen. I heard him on speaker when Laura called him to tell him he was awarded Rocket Mortgage. I still get chills thinking about it. He was so stoked about it.
Laura: It’s such a singular moment, and a real milestone in all of our careers. Anyone who has the opportunity to work on one of these pieces, you’ll always remember it. Specifically, with Rocket, it’s my first Super Bowl ad, as well as the director Matthew’s, the line producer’s, the production designer’s. It was a big moment for a lot of people. Even for veteran directors, like Jeff Low, Steve Rogers, and Andreas Nilsson, it’s still a very exciting moment.
Ben: When you’re in the conversation almost every year, it’s definitely more attractive when it comes to recruiting new talent. And that’s not just in the US. A lot of strong international creatives love the opportunity to work on a campaign in which the whole world will be watching. Even veterans who’ve felt the rush of years past, are still excited to serve up their holiday breaks for the chance to do something memorable for the Super Bowl.
What’s been the most surprising, unexpected or eye-popping Super Bowl ad you can remember? What made it so? And how did you react when you saw it?
Drew: I still say Budweiser Clydesdales 9/11 Tribute was the most emotional, beautiful, and memorable spot of my life. I still get choked up watching it to this day.
Ben: I still remember the Always “Like a Girl” Campaign” (2015) that addressed the topic of self-confidence in young girls on the biggest stage. As the father of three girls, who were not really excited about sports and hated PE class, the content sparked conversations. And it felt good to be part of a profession that is thinking about more than just pushing a product.
If I were able to name another, I would say the Google “Loretta” (2020) spot. It’s essentially a product demo of Google Assistant. But it used the technology in a way that makes you tear up and think positively about the brand that is making these moments possible.
Sophie: A recent Super Bowl campaign that genuinely caught my attention was DoorDash’s “All The Ads” in 2024. It wasn’t just a clever concept – it was a complete repositioning of their brand in real time. Instead of making a traditional spot, they turned the entire Super Bowl ad lineup into their own marketing platform, offering to deliver products featured in other commercials. It was playful, smart, and strategically brilliant—a rare example of an ad that wasn’t just entertaining but actively changed consumer perception of the brand.
I was so intrigued I found myself pausing the game, much to my husband’s frustration, trying to figure out the hidden code. It was one of those ads that didn’t just grab attention but demanded engagement, making the audience feel like part of the experience.
Heather: The remaking of Groundhog Day with Bill Murray by Highdive for Jeep was so brilliant. The Super Bowl was on Groundhog Day, so it was a perfect storm that all came together beautifully. I still laugh every time I see it.
Laura: Jordana and I both came to this with the same one: our good friends at Mischief, who disrupted the 2023 Super Bowl with Tubi.
Jordana: So many people thought there was something wrong with the feed! It’s fucking brilliant.
Laura: And the fact that it was Mr. and Mrs. Smith, it was just…so funny.
Jordana: It was so good. And there have been some beautiful ads, like Farmer’s Dog last year. If I didn’t say Tubi, I’d say that one. An ad that can make so many people feel during the Super Bowl is amazing,
Laura: It made a lot of directors jealous.
Jordana: And a lot of people cry. But, in this day and age, an ad that can actually get people out of their seats and freaking out, that’s the winner, for sure.
Laura: And Tubi was a really smart way of utilizing a short buy time.
Jordana: It was just enough time for everyone to panic.
Laura: The impressions per dollar spent must have been insane. Another one that always sticks in my mind is Volkswagen’s “The Force.” With two notes you were immediately pulled into this very nostalgic story, it’s that perfect balance of being funny and heartfelt that plays so well to the Super Bowl audience. That’s still one of my favorites.
The sports world is changing rapidly, from the growth of women’s pro leagues to the NIL impact on college sports to the up-and-down nature of ratings for showcase events and the impact of moving coverage from linear TV to the streamers. Do you foresee a time when the Super Bowl loses its luster, or will it always be adland’s biggest night?
Ben: The Super Bowl is not going anywhere and will continue to shine like a Lombardi Trophy. It’s the pinnacle of sports and entertainment. As far as college and NIL, I will continue to watch my beloved Kentucky Wildcats whenever I’m done with work and will often skip through the commercials and watch on any device. The NIL has not really been affected by viewing either way. But when it comes to the Super Bowl, like hundreds of millions, I will continue to watch it live on the big screen. Even when the guacamole bowl runs dry.
Sophie: The Super Bowl is singular in its cultural power. While the way audiences consume media is evolving, the game remains a unifying event—one of the last truly communal viewing experiences in an era of fragmentation. What will change is how brands engage with it. We’re already seeing brands rethink their investments, whether through pre-game activations, multi-platform storytelling, or even skipping the traditional ad buy in favor of high-impact digital alternatives. But as long as the Super Bowl remains a tentpole event in American culture, it will remain adland’s biggest stage.
Heather: I would love nothing more than to see women’s sports continue to grow and take over the ratings. I’d be thrilled to have the women’s NBA finals be the new Super Bowl of advertising. Go Chicago Sky!
Drew: NEVER! The commercials have become almost as important as the game at this point.
Jordana: I think it’ll always be Adland’s biggest night – or at least within our lifetimes. What people don’t recognize is how powerful a franchise and brand the NFL is. There’s very little mono-culture left and football is an incredibly popular cultural touchstone. It’s still one of the best ways to reach all of America. It’s the highest-value American event we have.
Laura: Shared moments in culture are few and far between these days. No more “Friends” or “Seinfeld finales,” and SNL doesn’t have the same viewership it once did. Even for the Olympics, people are replaying it later, with the time differences, etc. The Super Bowl still has the monopoly on eyeballs, it’s the one thing everyone is going to tune in and watch. So unless the culture shifts dramatically, and we all start watching the same TV show at the same time again, and it’s no longer on a streamer… It would have to be such a huge shift for something else to be the biggest night in advertising. Unless someone creates a real-life Squid Game.