The Best Moments Are Those We Spend Together – Müpa Budapest | Clapboard

30 Lottery Millionaires - Irish National Lottery | Clapboard Ad Archive — archive collection thumbnail

30 Lottery Millionaires - Irish National Lottery | Clapboard Ad Archive

The 30 Lottery Millionaires campaign for the Irish National Lottery, developed by Core and launched in Ireland in 2020, anchors itself in the aspirational power of real-life transformation, showcasing the compelling proof that 30 individuals achieved millionaire status through the lottery in the previous year. Purpose-built for the media and entertainment category and positioned against a competitive Irish gambling landscape dominated by digital-first bookmakers and charismatic sports betting brands, this campaign carves a distinct space for the lottery by foregrounding authentic stories of ordinary people whose lives have been changed irrevocably. Rather than relying on abstract claims or dramatized fantasy, the central creative idea is rooted in what Clapboard’s taxonomy classifies as FORMAT#7—Presenter Testimonial, inviting viewers to see the tangible results of participation through direct reference to those who have won. This format powers the credibility of the campaign, replacing celebrity endorsements and symbolic storytelling with the understated gravitas of lived experience and social proof, making the brand promise—dreams can come true—eminently believable and emotionally resonant. In execution, the campaign eschews spectacle in favor of relatability, its testimonial framework encouraging every viewer to imagine themselves not as a statistical long shot, but as the next in a growing list of millionaires. The approach subtly builds trust and amplifies hope, delivering on the Irish National Lottery’s core proposition while distinguishing it from the irreverent style of Paddy Power, the technological innovation of Bet365, or the community-first positioning of BoyleSports. While its primary deployment leveraged film and digital channels with an emphasis on direct, local messaging, the campaign’s success lies in its commitment to real results and its resistance to overpromising—qualities that resonate with a public attuned both to the dreams and realities of gambling. Clapboard rates this 61/100. The campaign is a marker for the category, signifying how testimonial-driven work can cut through noise when grounded in proof and delivered with integrity.

Freddie - Staatsloterij | Clapboard Ad Archive — archive collection thumbnail

Freddie - Staatsloterij | Clapboard Ad Archive

Freddie, the 2019 New Year’s Eve film campaign from Staatsloterij, the largest lottery in the Netherlands, reframes the traditional jackpot narrative by spotlighting compassion over cash, a move that reinforces the brand’s evolving place in the country’s gambling and media landscape. Developed by TBWA for the high-stakes December draw, the campaign leads with a cinematic story in which a man moments from discovering a possible 30 million euro lottery win chooses to rescue an injured hedgehog, Freddie, from a nighttime roadside peril and nurses him back to health at home—underscoring the idea that fulfillment lies in kindness, not just fortune. In a sector where competing offerings from brands like Nederlandse Loterij or Holland Casino routinely rely on scale, glamour, and the seductive allure of transformative wealth, Staatsloterij stakes out a distinctive position by channeling the emotional power of helping others, leveraging a universal narrative to convey that the true value of lottery participation is about enriching lives in ways that money cannot buy. The campaign’s deliberate focus on intimacy and vulnerability, using the defenseless hedgehog as a visual metaphor for the importance of stopping, noticing, and caring, delivers a message attuned to rising public scrutiny around gambling’s social role—pivoting the conversation toward empathy, social responsibility, and intangible reward. What Clapboard’s taxonomy would classify as FORMAT#5—Exemplary Story, the campaign’s creative technique transforms the product—the lottery ticket—from a simple vehicle for potential riches into a narrative catalyst that challenges and elevates the protagonist’s (and by extension, the audience’s) values at a critical juncture, resolving with happiness found in selfless action rather than serendipitous gain. Staatsloterij’s approach, executed by TBWA, effectively humanizes the lottery experience for the Dutch market category of media and entertainment, achieving resonance with a broad demographic and reasserting the brand’s relevance amid intensifying calls for accountability and positive impact in gambling communications. The campaign earns 63/100 in Clapboard’s global creative archive. For an industry often defined by outsized promises and transactional storytelling, Freddie signals that campaigns grounded in emotional generosity and shared values hold the power to reframe what winning truly means.

Hope Beats Hate - BT | Clapboard Ad Archive — archive collection thumbnail

Hope Beats Hate - BT | Clapboard Ad Archive

Hope Beats Hate, BT’s 2021 campaign with Saatchi & Saatchi, maps out a bold repositioning for the telecommunications giant within the UK media landscape by shifting from provider to protagonist in the fight against online hate. The creative idea is built on the launch of Hope United, a metaphorical team assembled to tackle digital abuse head-on; instead of showcasing the mechanics of online toxicity or providing a literal solution, the campaign deploys the power of analogy, casting hate itself as an adversary best overcome through collective hope and unity—a technique that sits squarely within Clapboard’s FORMAT#3—Symbolize the Problem taxonomy. As the media and entertainment category grows increasingly crowded with technology-first pitches and content-led propositions from rivals like Sky, Virgin Media, and OTT platforms, BT’s communications strategy leans into cultural relevance, using the emotionally charged construct of a social experiment to foster empathy and participation rather than spectacle or star power. This direction is particularly astute, considering audience fatigue with generic anti-hate messaging; by reframing combatting online abuse as a communal and aspirational endeavor—and naming both the problem and the response—Hope Beats Hate resonates not just with those personally affected but with any digitally active viewer attuned to the collective malaise of virtual hostility. Saatchi & Saatchi’s execution eschews didacticism in favor of authentic storytelling, inviting viewers to reflect and engage, which elevates BT from utility provider to agent of positive social change. The campaign banks on symbolic representation, rallying communities around inclusion, optimism, and digital citizenship, while aligning BT’s long-term brand equity with progressive action—a playbook that feels notably differentiated among UK media players, none of whom stake as much in the social discourse surrounding connectivity. The creative assets harness the gravitas of a cause campaign without sliding into melodrama or prescriptive narrative, making it an accessible invitation for broad engagement rather than a closed call to a selected few. The campaign earns 72/100 in Clapboard’s global creative archive. BT’s intervention in the cultural conversation around online hate signals both a new bar for purpose-driven leadership in media and a timely case study in how brand platforms can channel symbolism into collective agency.

Lost in Playlists - Twin Toes, Capitane Records | Clapboard Ad Archive — archive collection thumbnail

Lost in Playlists - Twin Toes, Capitane Records | Clapboard Ad Archive

Twin Toes’ Lost in Playlists campaign for Capitane Records, conceived by Mortierbrigade, occupies a distinctive place in Belgium’s media and entertainment landscape by executing a mischievously clever creative inversion: rather than simply vying for a coveted spot on Spotify’s official editorial playlists, Twin Toes make those playlists the starring subject of their music itself, embedding their names directly into the lyrics of the debut single Lost in Playlists. In a streaming-dominated industry where more than 60,000 tracks are uploaded daily and editorial playlists represent the holy grail of exposure for emerging talent, the campaign zeros in on a key creative insight: playlist curators, not algorithms, hand-select these music collections, making human attention the most valuable commodity in contemporary music marketing. By translating this strategic reality into an audacious and self-aware meta pop song, Twin Toes transform the artist’s perennial struggle for discovery into a wry, self-referential commentary for both fans and industry insiders, demonstrating a sharp awareness of the very mechanisms that drive music discovery and fandom today. Mortierbrigade’s approach aligns squarely with what Clapboard’s taxonomy would classify as FORMAT#11—Unique Personality Property, leveraging a playful singular twist to stamp the brand’s distinct identity on a crowded indie pop scene and sidestepping conventional storytelling in favor of creative self-reflexivity. This film-led campaign narratively and visually weaves the premise of getting Lost in Playlists into both the track and the accompanying video, ensuring that fans in-the-know about playlist culture feel seen while editorial decision-makers can’t miss the conceptual wink in their direction—a tactic as targeted as it is culturally literate. The campaign’s cross-platform presence on Spotify, Apple Music, and Instagram further amplifies its relevance, positioning Twin Toes as a brand that intuitively understands and communicates the aspirations, tensions, and humor embedded in the modern music marketplace. Clapboard rates this 73/100. In reengineering the narrative of playlist competition into its own creative device, the campaign signals that standing out in music marketing now demands not just quality artistry but also a sophisticated grasp of industry meta-language and audience awareness.

Kingslayer - Flashpoint | Clapboard Ad Archive — archive collection thumbnail

Kingslayer - Flashpoint | Clapboard Ad Archive

Kingslayer for Flashpoint exemplifies how the gaming industry leverages high-impact film craft and digital-first creative to galvanize its core under the banner of competitive spectacle, with FACEIT Ltd orchestrating an animated hype intro that fuses VFX intensity and cultural cachet through the anthemic track Kingslayer by Bring Me The Horizon featuring BABYMETAL. Released in the United Kingdom in 2021 and rooted in the media and entertainment category, the campaign sidesteps literal representations of gameplay in favor of symbolic dominance, marrying aggressive motion visualizations with metaphoric lyrics that champion rebellion, loyalty, and transcendence — a creative approach that sits squarely in Clapboard's FORMAT#9—Symbolize the Benefit classification. The narrative pivots on breaking chains, destroying castles in the sky, and wiping the system, visual tropes that deliberately exaggerate the transformative thrill of eSports, positioning Flashpoint 3 as more than a tournament but a cultural rallying cry for gamers who crave both adrenaline and disruption. Integration with high-engagement digital channels like Twitch, Twitter, Instagram, and YouTube extends the campaign’s footprint and fosters a participatory energy central to how gaming communities self-identify, while the selection of a globally resonant, genre-blending music track signals savvy alignment with the tastes of a digital-native, alternative-leaning audience. This campaign does not merely amplify anticipation for Flashpoint 3 but reframes the brand as a lifestyle hub where gaming, music, and animated visual excess collide — a deliberate strategy underscored by the sophisticated use of cinematic VFX and aggressive audio, which together heighten the campaign’s emotional voltage and unify its audience around a new archetype of the eSports competitor: the kingslayer. With over 186,000 views, sustained social discourse, and a campaign ecosystem that reaches across every major digital outpost relevant to competitive gaming, the work effectively demonstrates the escalating expectation for immersive, multi-sensory storytelling in eSports marketing. Clapboard rates this 79/100. As gaming brands lean harder into symbolic spectacle and pop-cultural alignment, Kingslayer signals that the next chapter of market leadership will be written by those willing to weaponize metaphor, sound, and image to transform hype into belonging.

Hello - Amazon Prime Video | Clapboard Ad Archive — archive collection thumbnail

Hello - Amazon Prime Video | Clapboard Ad Archive

Amazon Prime Video’s 2021 campaign Hello harnesses the cultural resonance of Martin Solveig’s global hit Hello to celebrate both the song’s 10th anniversary and the unprecedented introduction of night sessions at Roland-Garros, positioning the platform as the exclusive home of these historic prime-time matches on the Philippe-Chatrier court. Created in partnership with the agency Herezie, the campaign revives the iconic music video with a nocturnal twist that aligns perfectly with the tournament’s new scheduling innovation, while introducing Swiss tennis star Stan Wawrinka as a compelling counterpart to Solveig in a visually striking musical duel. This fusion of music and sport leverages the dual appeal of nostalgia for Solveig’s original video and contemporary sports relevance through Wawrinka, creating a powerful associative link that amplifies Prime Video’s unique content offering in France’s competitive media landscape. By spotlighting the exclusivity of the night sessions and their availability only on Prime Video, the campaign underscores the platform’s strategy to capture sports audiences seeking immersive, differentiated viewing experiences beyond traditional broadcasts. The creative execution leans on what Clapboard’s taxonomy classifies as FORMAT#8—Ongoing Characters or Celebrities—by reprising a familiar personality whose brand equity is well established and pairing him with a current sports figure to generate immediate recognition and emotional engagement rather than relying on a traditional narrative or direct product demonstration. The campaign’s film asset deftly blends the musical energy of Hello with the high stakes of Roland-Garros, creating a seamless cross-category activation that reinforces Prime Video’s positioning as a provider of fresh, premium entertainment that intersects music, sport, and innovation. With over 880,000 views and significant social media buzz, the campaign demonstrates effective audience reach and engagement, supported by its 74/100 Clapboard Campaign Score. The Hello campaign matters to the industry because it illustrates how strategic collaborations between entertainment and sports can elevate streaming platforms’ exclusivity and cultural relevance by revitalizing legacy content in a way that resonates with diverse audiences and reinforces brand differentiation.