Heartland, Nostalgia And AI: Super Bowl Advertisers Mine America's.
Advertisers pay up to $8 million for a 30-second Super Bowl area
American brand names return to tradition, star and trademarketclassifieds.com cheer
OpenAI and Perplexity take advantage of the Super Bowl to promote AI
By Dawn Chmielewski
Feb 9 (Reuters) - Anheuser-Busch InBev is restoring its renowned workhorse Clydesdales for a Super Bowl ad that the developing company says commemorates the "grit and decision" of the American spirit.
The Budweiser industrial marks a return to tradition, after a devastating social media promo for its Bud Light brand in 2023 featuring transgender influencer, Dylan Mulvaney, triggered calls for a boycott.
"We ´ re certainly seeing Budweiser play it safe this year," said Charles R. Taylor, a marketing teacher at Villanova ´ s School of Business and author lespoetesbizarres.free.fr of a book about Super Bowl advertisements. "Everybody likes the Clydesdales."
The return to safe, familiar and sentimental ground represents a pattern amongst some advertisers for this year ´ s Super Bowl LIX, a rematch in between the Philadelphia Eagles and socialeconomy4ces-wiki.auth.gr the Kansas City Chiefs in New Orleans. Brands are anticipated to lean on humor, celebrity and warm references to America ´ s heartland, reflective of the cultural zeitgeist.
For users.atw.hu the very first time, OpenAI and Perplexity will seek to capitalize on the most significant televised event of the year, bringing expert system into the homes of millions of Americans.
"We ´ re all in this excellent, pleased location, and wish to be entertained," said Gartner analyst Nicole Denman Greene. "So, to insert your brand name in that moment of fandom ... you have to deliver imaginative that is resonant with that audience."
Super Bowl advertisers are flashing major star power, with an estimated two-thirds of the commercials including stars.
Meg Ryan and Billy Crystal reenact their famous deli scene from the 1989 romantic comedy "When Harry Met Sally," in a business for Hellmann ´ s mayonnaise that likewise includes a short appearance from "Euphoria ´ s "Sydney Sweeney. Willem Dafoe and Catherine O ´ Hara double-up on the pickleball court to hustle challengers out of their Michelob Ultra beers. Eugene Levy, Ben Affleck, Matt Damon, Post Malone, Vin Diesel and Kermit the Frog also appear in the 30-second areas.
OpenAI, the business behind ChatGPT, is expected to air its first during the Super Bowl, bringing the race for artificial intelligence supremacy to America ´ s bars and living rooms. Meanwhile Perplexity AI is hosting a Super Bowl sweepstakes that offers a $1 million prize for asking concerns throughout the game.
Greene said AI companies are seizing on the Super Bowl ´ s reach to deal with consumer stress and anxiety about the fast-evolving innovation.
"All of the advertisements I have actually seen-- and I can't wait to see all of the imaginative-- it's more about making people see how they can be more productive, and how their lives might be better," said Greene. "I don't understand if that's going to eliminate the fear, because, as individuals discover more about the capabilities, we're seeing in the information, that they get less certain."
This year ´ s game will have less vehicle commercials than in previous years. Stellantis is the only automaker to announce a Super Bowl ad, in which actor Glen Powell provides a humorously macho twist on the familiar "Goldilocks and the Three Bears" fairy tale.
Ads hawking beers and treats return. They will share screen time with newbie endeavor capital-backed Liquid Death, the canned water brand name that purchased its very first Big Game advertisement to promote its Killer Cola and sincansaglik.com Cherry Obituary.
So far, the most popular Super Bowl ad is the winner of Doritos ´ "Crash the Super Bowl" contest, portraying an alien abduction.
"It ´ s off the scale on amusing, on curiosity," said Sean Muller, creator and chief executive of TV marketing measurement firm iSpot.TV. "People love the advertisement." (Reporting by Dawn Chmielewski in Los Angeles; editing by Ken Li and Diane Craft)