USING SOCIAL MEDIA TO REACH CONSUMERS: A CONTENT ANALYSIS OF OFFICIAL FACEBOOK PAGES

The article, Using Social Media to Reach Consumers: A Content Analysis of Official Facebook Pages, published in the Academy of Marketing Studies Journal in 2013 examines why and how social media should be incorporated in to marketing and advertising strategies by content analyzing official facebook pages of 70 global consumer brands.

Social media has become an integral part of digital marketing; with the rapid growth in web users and everyone migrating online, companies are realizing the importance of having a social media presence to reach those millions of consumers.

Amy Parsons, the author of the article, begins by introducing the nature and significance of social media to explain why companies should establish social media presence. Social media refers to “online tools where content, opinions, perspectives, insights, and media can be shared…(and) at its core social media is about relationships and connections between people and organizations (Nair, 2011, p.45).” It has changed the way of communication, as well as where and how consumers spend their time. It is highly interactive, “unstructured,” according to Parsons, and is focused on generating conversation and fostering community which play an important part in purchase decisions (reflecting the logic of capital) (21).

Social media liberates information in providing the environment for it to grow rapidly and flow freely, whereas traditional media advertising was more controlled in placement and results. Social media as advertising allows interaction between corporations and consumers, allowing consumers to talk back rather than simply be talked to.

This picture of feedback on Nestle’s Facebook page shows there is high risk involved in social media advertising.

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Consumers can also form communities on social media, creating profiles to “connect” with others. These profiles can then serve as information databases for product development, advertising campaign development, and market research. Companies should use social media to engage with consumers as intimately as consumers do with friends and family. Parsons notes that it is important to be responsive and current while developing a style of communication that avoids alienating audiences with out of context tone/content.

As Naomi Klein writes of her experiences with the new cultural outlets for teenagers in “Alt. Everything: The Marketing of Cool” from her book No Logo, “Privatization slithers into every crevice of public life, even [presumed] intervals of freedom” (64) This sort of advertising, in Klein’s opinion, acts as “marketing that thinks that it is culture.” (66) The characterization of Facebook as a new cultural outlet for young internet users that fits within what Klein is saying certainly seems logical.

Parsons then applies the Seven Functional Building Blocks of Social Media (Kietzmann et.al., 2011) to her evaluation of content on official Facebook pages to understand how marketers target and communicate with consumers using social media. Facebook is chosen as the subject  because it has “the largest membership:” as of July 2011, there were 750 million members Facebook users (30). “The average user is connected to 80 community pages, groups, and events,” creating 90 pieces of content monthly and sharing 30 billion pieces of content (web inks, news stories, blog posts, notes, photo albums, etc.) (27).

The seven functional building blocks of social media consist of identity – the extent to which users reveal their identity and information within the social media network; presence- whether users are online/”available” or not; relationships- with the likes of mutual friends, family members, et cetera; conversations-including frequency of postings in communicating with other users; groups-forming communities and sub-communities through “liking” same brand; reputation-“the ability of users to identify the standing of others within a social media network” (for example, “like”/”favorite”/endorsing a post); and sharing-sending and receiving of content between users which could include photos, comments, videos, et cetera.

The study evaluates the content of tabs, number of likes on official pages, and wall content of 65 brands (out of a pool of 70 consumer brands, 65 had official Facebook pages). Findings include a range from 3 to 14 number of tabs on main Facebook pages. These tabs and posts for photos, events, causes, and such establish the brand’s identity and reputation while the tabs for “connect/support/questions/FAQ” contribute to the brand’s presence. Discussion/review tabs encourage relationship-building between brands and consumers, as they provide a platform for sharing and conversations. Postings are key to driving conversations which can be promoted by: Calls for involvement, Customer comments, Polls/Poll questions, Product Reviews/Tips/Uses/Recipes, and Contests/Sweepstakes. Postings can be product-related or ask users for positive experiences (like testimonials, but as we have learned, information flows and proliferates, so these can go very wrong and cause counter-effect). Findings from the study show that Facebook postings are controlled in content and in frequency; “companies post on average 24 times within a month”(35).

Parsons’ findings show that companies strive to integrate into the building blocks of social media on Facebook, by exploiting existing networks and encouraging sharing. Their advertising models further reflect the logic of capital (a condition of ads-as-ideology discussed by Goldman & Papson) and the main tenants of the creative revolution seeking to shift the function of advertising from informative to entertaining and transformative. “Companies are trying to encourage consumers to interact with them the same way they do with their friends and family.” (Parsons, 27) Companies do not want their posts to appear like they are ads – they want to appear as if they are like the friends or family that Facebook users see posts from.


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The posts above are examples of posts from Facebook page “Dog-E-Glow”, which posts funny pictures that users often share and are commonly enjoyed by the group of dog owners. The ads don’t show the product that Dog-E-Glow sells – glow-in-the-dark dog collars. These posts are meant to appeal to the central tenants of social media as previously discussed by Parsons – meant for sharing and group formation/exploitation. 

The functions of corporate social media seem to be on generating relationships with consumers. Seemingly corporate Facebook pages hope to generate relationships similar to those with friends and family members. Their postings often put more focus on facilitating the strengths of social media than actually advertising their products (as posts by Dog-E-Glow show). Despite this, corporate pages tend to discourage comments or feedback by often disabling them whenever possible, unless the feedback is likely to be positive. Parsons also observes that there is a “communication strategy” unique to Facebook that is distinct from other social networks. Different networks enable a different sort of outreach, but there may be similarities in the various social networks.

The main takeaways from the article as it relates to the history of advertising as well as the current environment is that social media advertising is a continuation of certain trends in marketing & advertising. This definitely includes aspects of Naomi Klein’s observations from “Alt.Everything” and aspects of the creative revolution’s new method of advertising. Despite this, there are some challenges companies experience translating to the new networks. We can see this from Nestle’s issues, from the failure of the #MyNYPD trending topic, and across many other flubbed social media advertising schemes. Some companies find themselves often unable to control the spread of their content or authenticate themselves in the new medium. Lastly, we can see that advertising may not just be adapting to social media, but actively changing due to it. We’ve all seen ads with hashtags in them or making reference to Facebook, but advertisers now are forced to keep their campaigns flexible to ensure they work within the context of social media. Parsons discovered that pages were used to adjust marketing strategies by gathering feedback from customers, one perhaps unexpected example of social media affecting companies’ overall marketing strategies. There are plenty of ways which we see these changes reflected in the overall strategy of marketing plans of companies. Parsons noted that only 5 of the 70 corporations she attempted to study did not have Facebook pages – the ubiquity of Facebook is becoming difficult for companies to ignore. Their presence in this space indicates to us the emergence of a different media economy that companies are forced to adapt to. We can see some of the changes here, but there may be more to come.

 

Works Cited:

Parsons, Amy. “Using Social Media To Reach Consumers: A Content Analysis Of Official Facebook Pages.” Academy Of Marketing Studies Journal 17.2 (2013): 27-36. Business Source Complete. Web. 5 May 2014.

-TJ Peterson & Jennifer W.

 

Seamless Subway Ads target the New Yorker Consumer

 

Print is not dead (yet), at least not in outdoor advertising platforms like the subway. Advertisements placed in the subway target the metropolitan commuter, the urban consumer. Outdoor advertising as such generate high traffic and circulation as it is (positioned in) the vehicle that connects consumers from point A to point B (figuratively and literally). These advertisements usually have geographically/demographically localized target markets and tend to occupy entire trains at a time – as GrubHub Seamless targets New Yorkers in New York subways with consistent campaigns in series of posters. Effective subway ads keep the message short due to passengers’ limited time onboard: about one minute per stop, more than a few stops if you are lucky. Grubhub Seamless, the food delivery company, realizes this and relies mainly on its copy – employing dark humor (snarky at times) in one-liners that address commuters in their perceived tone, perpetuating a stereotype of cold cynical New Yorkers too good for anyone but themselves. Grubhub Seamless ads target New Yorkers but not just any New Yorker; it goes for the millennial ones, the new middle class – often found scurrying underground as commuters. Walter Benjamin notes, “We decipher ads routinely, absentmindedly in a state of distraction;” this is even more so when we are stuck in the strange vortex that is the subway (Goldman&Papson, 81). Ads are inescapable; they have become so naturalized in to our lives that we become susceptible to the embedded ideologies without realizing our consumption of them. This is disconcerting, as Goldman and Papson would agree; ads perpetuate and are carriers of ideologies that do not benefit us.

While some criticize Seamless for not explicitly communicating its actual brand value in ad campaigns, I find it important to focus on what the company is doing instead. Seamless is not making the conversation about them because it is not about them; it is about you, the consumer, and everything about your life – what makes you tick and what rocks your boat (but more so the former). Unlike in the traditional days when hard-sell was the way, Seamless sells an attitude, and one specifically meant to resonate with New Yorkers – who conveniently seem to share the identity of cynical spectators. So while there may be resistance from alienated spectators, hip consumerism (thanks to the Creative Revolution) recognizes the bored and cynical audience by using various signifiers to side with and gain loyalty from such consumers (Frank, “Cultural Criticism” 55).

In its subway ads, Seamless employs representational tactics such as culture-ridden intertextuality, referencing existent combinations of texts as signifiers “to place and displace old and new meanings while building upon what has gone before” (Leiss, 502). They promote main themes of New Yorker-exclusivity, including social codes – which is, rather, to not be social. One Seamless ad slogan is: “favourite thing about having a smartphone is never having to phone anyone.” Seamless hit two birds with one stone with this one because it not only promotes anti-socialness, a major theme in its ad campaigns, it also puts down the competition, which is calling restaurants to order delivery instead of using the Seamless platform.

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rima abdelkader twitteri-havent-met-one-neighborvia matt tumbleson creative director of grubhug seamless itselfimages

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

The images above are examples of Seamless ads in the subway. The first ad compares calling restaurants to the feeling of walking behind tourists, which all New Yorkers (should) know about. It denotatively distinguishes the audience from tourists and demonstrates connotative exclusivity by marking the audience as insiders through showing an understanding of the pain/annoyance of “outsiders.”

Seamless uses this ad to paint a normative version of our relationships with others in this one facet of the world, which is one of the four ways, according to Goldman and Papson, that ads are ideological. This ad along with most of the others all have the uniform Seamless logo, the image of takeout boxes filled with food (of various kind, denoting diversity), and the call to action text somewhere in between (reflecting the logic of capital, another ideological factor noted by Goldman&Papson).

The second ad follows in the same vein as the first in capitalizing on the perceived attitude of the target market, which is the sense of superiority that people living in New York may come to adopt. It draws upon a (supposedly) shared cultural knowledge and promotes the social code of avoiding Times Square, a landmark aspired by “outsiders”/tourists, yet, dismissed by New Yorkers. The ad casts a negative light on while connecting both the experience of going to Times Square with that of calling restaurants (competition). It disguises (yet implicitly promotes) inequalities and contradictions of the cultural fabric of New York City and the world; it generalizes people’s taste and preferences, dictating what people should not like, thereby socially and culturally constructing the world to consumers.

The third ad with the textual signifier, “It’s easy. Like deleting friends after their 529th invite to Candy Crush” draws on a current trend. The copy does not have anything to do with the service Seamless is selling other than the “easy” aspect, but who knows what they are talking about? What is easy?? The ad recognizes that the target consumer is so on demand and is too cool to participate in the “social” activity of playing Candy Crush like the rest. It highlights individualism and desirability in the target market while promoting a normative view of our relationships with one another – that friends can be “deleted.” This is one of the examples of when the intertextuality in ads trails too far from its main subject and the ambiguous message overshadows its intended purpose. The effort that Seamless puts in to being hip, cool, and “with it” is reflective of its target niche but also drives an inaccurate representation – that is the cold, anti-social, reclusive collective of New Yorkers (see fourth and fifth ad).

The sixth ad and perhaps most bizarre use of intertextual references has the copy “It’s hotter outside than a twerking unicorn eating sriracha.” against a fuchsia background with Seamless’ website on top. It combines three keyword trends of pop culture: twerk, unicorn, and sriracha. It is very clear with this ad that Seamless is targeting youth, supporting my claim in the beginning that Seamless does not target all of New York with these geographically tailored campaigns but specifically those who understand this mix of intertextuality; an elderly man may not understand the cultural significance of twerking, unicorn, and sriracha and how they can be in the same sentence to make sense. What could this ad possibly be talking about? Goldman and Papson question what happens when viewers can no longer decode what the point of an ad is and how far advertisers can go in creating narrative confusion, such as these Seamless ads, without undermining the goals of advertising.

But for now, they work.

And with that, these seamless ads, though quite seamlessly positioned contextually in target market’s lives, should be exposed exactly because they are effective. We may not stop to think twice because we identify with what it communicates, thus overlooking the discourse we submit ourselves to and consume. As Goldman and Papson write,

We rarely pause to consider the assumptions imposed by the advertising framework since our attention is usually fixed on solving the particular riddle of each ad as it passes before us on the screen; just as importantly, our attention is usually fixed on the question of whether or not we like the ad (Goldman & Papson, 81).

It is important to think critically and question the consumption ideology, which is why a culture jam (“the appropriation of a brand identity or advertising for subversive, often political, intent”) to imitate and satirize Seamless is necessary (Carducci, 117).

For my quick spoof video of the Seamless subway ads in New York, I would visually realize the copy on the ads for one to see that it has nothing to do with the service Seamless offers. There would be a montage of shots, including a twerking unicorn eating Sriracha, a person getting frustrated walking behind tourists, and a person who is traumatized after going to Times Square who then runs home only to receive the 529th invitation to play Candy Crush and explodes – to a final caption: “It’s Easy” with Seamless’ logo to expose just how ridiculous and senseless the ads are.

As originally a New York based service targeting New Yorkers, Seamless finds staying power in the fleeting trains, which is a defining part of the city. However, the traits that Seamless depicts of its target consumer in these subway ads resemble those of a depressed person. Seamless tries to incorporate itself in to the target consumer’s taste palette by targeting attitude and lifestyle. The ads seem to psychologically befriend you, developing character through its copy as voice; they seem to speak a certain truth you identify with about whom you believe you are, or is it whom Seamless believes you are? This is colonization of mental space, as Naomi Klein (author of Alt.Everything: The Youth Market and the Marketing of Cool) would say, and we should protect ourselves… because it’s not easy.

 

-Jennifer Zhengfei Wang

Advertising in Your Dreams – “The Talking Window” by BBDO Germany for Sky Go

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English Version

This is not a TV commercial, nor a radio one, nor a pop up on your phone, and certainly not a traditional print ad in a magazine or newspaper, no; this is an advertisement that is invisible to the eyes and made to literally feel like it is coming from your mind. It is a public transportation ad, but not the images in the train or the flickering images outside of it made to animate as you stare blankly at the void in between; this ad speaks to you as you drift in and out of consciousness, delivering its message to your head because you are the one not paying attention and dozing off.

(So it seems that most of us have been dozing off for corporations to take such measures as to transmit high-frequency vibrations through our skull to then be converted to sound in our brain!)

This very target-specific ad made by BBDO Germany for the uninterested audience of today’s cluttered marketplace is for Sky Go, a mobile entertainment service by the British Sky Broadcasting Group since 2006. Offering live and on demand digital content, Sky Go is ideal for the consumers on the go, the people who consume the most ads as they move throughout their day, the commuters. Developing resistance to the ever-increasing clutter, commuters are desensitized consumers, alienated spectators, and to Sky Go, a very bored audience. In this ad, Sky Go appeals to the “Modes of Address” resistance that commuters apparently exhibit, which is a kind of resistance based on “idiosyncratic/peculiar interpretations strongly informed by affective and aesthetic elements (Leiss, 503).” By introducing a different channel of delivery, the nature of this ad emphasizes anti-establishment and stands out from its fellow competitors as it makes windows talk – which is a novel (and “cool”) idea signifying that Sky Go is not your average service, and that this is not your average ad.

An ad of such remarkable form must be acknowledged as a legacy of the Creative Revolution led by Bill Bernbach in the 1960s. Previously dominated by businessmen and centered on a framework of science in production, the ad industry experienced its turning point when Bernbach made copywriters and art directors collaborate to emphasize the artistry in producing enduring ads. He emphasized art over science, and “was the first adman to embrace the mass society critique, to appeal directly to the powerful but unmentionable public fears of conformity, of manipulation, of fraud, and of powerlessness (Frank, 55).” The Creative Revolution had “acknowledgement of and even sympathy with the mass society critique (Frank, 54).” This is identifiable in the Sky Go ad as it acknowledges and sympathizes with a mass society lifestyle by depicting the disconnected attitude of commuters (a form of mass society critique in itself) to ultimately offer ways of life improvement. The ad speaks to commuters, which encompasses the youth (Generation X) population as well. The signifiers include a range of tired and passive-looking 20-something-year-olds to middle-aged men in a variety of attire (suits, leather jacket and a beanie, parka jacket, hoodies, plaid shirts) on the train, interpellating the audience to identify with the characters through the commuter lifestyle and through the characters’ style as they are representational of a portion of the demographic in Europe, or more specifically, Germany. Signifiers of people falling sleep or just staring out into space while narrated as uninterested show that the ad acknowledges the critique, and its quest to obtain attention is self-referential of an ad embracing such critique. Another signifier is the electronic background music played throughout the ad, using intertextuality (drawing upon an already present language) to connote the coolness of its brand and draw similarities to its service. The bokeh/blurred lights connote a weary state/mood against the darkness outside the windows denoting that it is nighttime.  The company’s brand name appears a total of 5 times throughout the ad mostly on device screens (either for a fleeting moment or out of focus) and as a clear logo at the end. Branded entertainment as such seek to being the antidote to resistance; everyone in the video looks bored and disconnected until the ad reaches them, which leads to shown interest in a flash of curiosity and a satisfied (or pained) smile (signifier) as they lean against the window to listen to more. People’s reactions in the ad serve as testimonials and are signifiers that connote (positive) psychological effects to viewers, at least, that is the ad’s preferred signified meaning – that Sky Go is there to relieve your boredom and that you would like it.

The most explicit assumptions made in this ad are the boredom and resistance in commuters. The first line that is “spoken” by the window is, “Are you bored” in a monotonous voice and proceeds to saying “Get Sky Go for your mobile, best entertainment of live sport, when you want it, where you want it” – assuming you want it in the first place. This ad literally achieves what Goldman and Papson theorize as, “Consumer ads greet us as individual viewers with what seem to be our own (already) ideological assumptions and personalities” with the narration, “Suddenly a voice inside their head is talking to them” connoting the message comes from the receivers’ own consciousness (Goldman and Papson, 82).”

Key words like “revolutionary” and “innovation” in the copy are also signifiers by the ad denoting something new and different while connoting this use of the audio medium can change the advertising/entertainment landscape.

According to Goldman&Papson, ads are ideological in 4 ways; they socially and culturally construct a world; they disguise and suppress inequalities, injustices, irrationalities, and contradictions; they promote a normative version of our world and our relationships; they reflect the logic of capital. This Sky Go ad is no exception; it demonstrates all of the aforementioned in that it disguises and suppresses inequalities; there are significantly more men depicted, especially middle-aged balding men, than women. There is no racial diversity, thus presenting an all-Caucasian representation of the region/world. The ad socially constructs a world of individualization. It emphasizes that no one can actually hear the message and that it does not affect the general public; the message is delivered to each individual that strays away to convince them to connect with technology rather than with people. The ad reflects and promotes a social state of anti-socialness. Catered specifically to the alienated spectator, the ad assumes that if you’re not plugged in, what else could you be doing, talking to one another? Unlikely in today’s world. You would keep to yourself leaning against the window, and that’s where Sky Go comes in – reflecting the logic of capital – convincing you to “Get Sky Go on your mobile” for relief.

Evident in this Sky Go ad is the clean minimalism and stylistic elegance that derive from the Creative Revolution (Frank, 54). In fact, this ad may be the epitome of minimalism and simplicity – short (in copy) and novel (in delivery) – although Bernbach may not approve. Bernbach was against technocracy, and this ad employs/relies on technology; but since it has been long invented (used by the deaf “since Beethoven”), it should not be considered as elite tech so much as it is the creative use of existing resource making the medium “suddenly relevant to everyone” (Frank, 56). The Sky Go ad directly advertises its new service in its own form; it gives a taste of what is to come with future intended use that include sports broadcast, weather reports and more. It piques your curiosity to check out the service because you cannot see it, yet you would want to see it because seeing is believing. The element of mystery and distance renders it cool.

 

-Jennifer

Historical Analysis: Coca-Cola “Security Cameras”

A look back at some of the significant events that happened between years 2009 and 2012 (when this “Security Cameras” commercial was first released) may lead to the conclusion that a lot of bad things were/are happening in this era: A suicide bombing in the Moscow Metro system killed 40 people during morning rush hour on March 29th, 2010; the Egyptian Revolution started “with a series of street demonstrations, marches, rallies, acts of civil disobedience, riots, labor strikes, and violent clashes in Cairo, Alexandria, and throughout other cities in Egypt” on January 25th 2011; a shooting in a mall in the Netherlands killed five people and wounded eleven on April 9th 2011. Yet it is in these same years that Wikipedia, “the free internet encyclopedia” turned 10 years old, that Space Shuttle Discovery (OV-103) had its final launch, and in 2012 (before the commercial was released), that Wikileaks began “disclosing 5 million emails from private intelligence company, Stratfor” and Apple Inc claimed a value of $600 billion “making it the largest company by market capitalization in the world.” While technological breakthroughs surfaced, humanity saw a decline. Thus it was inevitable for denizens of this era to have developed cynical views.

This is where Coca-Cola comes in; its feel-good commercial serves the transformational function of changing subjectivity, attitudes and social values. In a world where technology, such as Google Earth, has caused privacy concerns, Coca-Cola transforms the perception of surveillance from something alien to a naturalized part of our lives in this uplifting commercial. Coca-Cola uses security camera footages to show that even with all the negative events in the news, there is still good in the world, and that it can come from the same lens that captures the bad. The commercial is also, more directly, intended to transform attitudes about/restore faith in humanity and to reinforce Coca-Cola’s brand identity of being optimistic and as a source of happiness in any situation.

The ‘Security Cameras’ spot is a continuation of our ongoing mission to spread happiness and optimism, giving a brand point of view about the world’s actual situation. This spot builds upon previous campaigns of ours that portray how good people outnumber bad people, delivering the message that we have reasons to believe in a better world. Because good people outnumber bad people. – Guido Rosales, Latin America Integrated Marketing Communication Director for Coca-Cola.

As a part of a #sharethegood campaign, the commercial interpellates/invites/encourages viewers to reflect and share goodness with the question, “How do you #sharethegood?”  It also employs the humour/wit tactic by putting a twist on words and their common associations: each of the moments are accompanied by witty captions like “People stealing…kisses,” “harmless soldiers,” “honest pickpockets,” “attack of friendship…love…kindness,” “friendly gangs,” et cetera, transforming what is usually perceived of the words “steal,” “gangs,” and “attack.”

In showing the good things people do even when they do not realize they are being watched, the commercial achieves authenticity and appeals emotionally – the most basic and universal element to effective advertisement. Coca-Cola embraces the mesh of public/private spheres as a part of this era (especially with the man dancing by himself in the convenience store) and encourages social interaction in expressing love and kindness to others and to oneself.  This soft sell tactic humanizes the corporation while achieving dematerialization of its product: Coca-Cola does not just sell carbonated beverages; Coca-Cola sells happiness.

Only towards the end is there a scene that contains Coca-Cola the drink – two students are shown getting a bottle of Coca-Cola from a vending machine and sharing it (with the caption “Sharing the Good”)– equating Coca-Cola to the positive moments presented before. Then the shot is pulled back to show the moments collaged together in the shape of the Coca-Cola bottle, selling the idea that Coca-Cola contains happiness, literally. All leads up to this final moment when the text beside the bottle appears, “Open Happiness.”

Internet Links

http://www.historyorb.com

 

– Jennifer W.

Coca-Cola “Security Cameras” Commercial

The 85-second commercial features a series of moments of goodness captured from security cameras around the world (unknown whether staged or not, but the dates on the screen caps add legitimacy). Accompanied with each of these moments are witty captions like “People stealing…kisses,” “harmless soldiers,” “honest pickpockets,” “attack of friendship…love…kindness,” “friendly gangs,” et cetera, putting a twist on what is commonly associated with words like “steal,” “gangs,” and “attack” as well as the use of security cameras. Made to serve the purpose of surveillance, security cameras are particularly associated with crime, yet in this Coca-Cola commercial, they are used to show what people do when they do not realize they are being watched – resulting in something intrinsically genuine and compelling. The commercial shows people from different parts of the world expressing love to friends and lovers, helping strangers, and enjoying themselves by making the most of what they have – there is never a dull moment. Viewers are left feeling warm and positive with the commercial’s reminder of the goodness that exists in life (us). Regardless of geographic/cultural differences, the universal theme of kindness does not get old. As a part of a #sharethegood campaign, the commercial interpellates/invites/encourages viewers to reflect and share goodness with the question, “How do you #sharethegood?”

I intern at a processing company for advertising competitions and was watching the works of some of the past winners when I came across this Coca-Cola commercial. It tugged on my heartstrings from the start with the stealing kisses moment and with its use of wordplay. It has stuck with me because of its effective association with positivity and happiness. This successful commercial showcases simple goodness in a genuine way.

– Jennifer W.