How 72andSunny channels creativity through unexpected moments

When Stagwell bought 72andSunny 14 years ago, it appeared to some as a creative death sentence, admitted Evin Shutt, 72andSunny’s chief executive. In fact, some five years later, the agency began dropping off the A-List and sliding into the standout category. But something funny happened on the way to the agency’s 20th anniversary this year: 72andSunny shed its underdog status, once again rising up on the strength of blazing creativity. That paid off in the form of new clients—the shop brought in $40 million in new business last year from brands including Amazon, Google, Sonos, Sleep Number and Wingstop, to name a few. And during a bumpy year for many, 72andSunny demonstrated an agility only a seasoned shop could deliver. See all of Ad Age’s 2024 Agency A-List winners here “We’re the poor bastards who got hit with three [client] CMO changeovers in three weeks and still grew our business, winning former clients and rare-beast AORs,” the agency wrote in its entry. It was also 72andSunny that dreamed up the wildly successful Sport Beach for parent Stagwell at Cannes, the agency said, which netted a new client in Wilson Sporting Goods. Unexpected moments are the throughline connecting 72andSunny’s best work of last year. It spotlighted flag football during the NFL’s Super Bowl halftime ad and painted demons in a church to promote video game Diablo IV. Wild efforts such as these could quickly become lost to the cascade of meaningless stunts and cheap thrills that wash through the advertising world. But 72andSunny has been around long enough to know how to imbue its work with purpose, reinforcing the effort with depth and creating a lasting opportunity for its clients. “If it’s true to the brand, you can take risks and push a little further,” Shutt said. Purpose wrapped in entertainment One of those risks was urging United Airlines to appoint “Sesame Street” puppet Oscar the Grouch as chief trash officer, giving the fictional character a seat in the C-suite at North America’s fourth-largest airline. The effort immediately garnered headlines, but within its humorous packaging is a purpose geared toward one of the most pressing issues in the world today: sustainability. As one of several major airlines with a goal to reach net-zero emissions by 2050, United is supporting the use of sustainable aviation fuel (SAF), which is less harmful than conventional jet fuel. SAF—and aviation sustainability at large—is a complex topic, which is why 72andSunny saw an opportunity in making Oscar an agent of demystification. The trash-loving character became a way to make the issue of aviation sustainability more approachable for mass audiences, said Matt Murphy, chief creative officer of 72andSunny. Oscar continues to be the face of an ongoing campaign for United. Through more than 30 videos, out-of-home placements and digital ads, he educates viewers on the importance of SAF. The agency led another purpose-driven effort shrouded in unexpected clothing. The occasion was the Super Bowl, the client none other than the NFL itself and the creative an ode to flag football. Moreover, the star of the 90-second halftime spot was not a man, as one may presume given the NFL’s fan base, but rather Diana Flores, quarterback of Mexico’s national women’s flag football team. The ad is literally a sprint, as Flores races through city streets evading people diving at her flags—fast-paced, action-packed and wonderfully entertaining. 72andSunny realized the potential risk in the ad’s creative details, said Shutt, but ultimately decided that it matched its client’s goals of inclusivity by celebrating the evolution of football. The NFL is focused on bringing more women and people of color into its audience. It also supports the momentum behind flag football as a safer alternative to tackle football. “Their passion for sports combined with their focus on diversity and inclusion has opened the door to powerful narratives for our league,” said Marissa Solis, senior VP of global brand and consumer marketing for the NFL. The agency’s idea turned out to be prescient: eight months later, the Olympics officially accepted flag football in its roster of competitions for the 2028 Games. Murphy recognized the good fortune that this timing had on the perception of the NFL, but also kicked some credit back to 72andSunny’s creative compass. “We find where culture is heading and let that lead us,” he said. Ad Age A-List and Creativity Gala Buy your ticket to the in-person event Click here Demon churches and embracing uncertainty Another highlight of 72andSunny’s year was its work for Activision Blizzard’s Diablo video game franchise—an effort that culminated in driving the fastest-selling title in the company’s history. Video game marketing typically revolves around trailers to whet appetites, and maybe a few real-world activations to drive a bit more interest. But seeing that 72andSunny was tasked with promoting the fourth installment of a 26-year-old series, settling with tried-and-trusted tactics was not going to be enough. So the agency rented a church in northern France, painted demons on the inside and turned the structure into the “Cathedral of Diablo.” The site then became the setting for a music video of Diablo IV’s dark theme song, an altered version of Halsey’s “Lilith” featuring Suga from BTS. The activation felt like “one plus one plus one equals one hundred billion,” said Murphy, reflecting on how a few out-of-the-box ideas turned into something with far greater impact. Within five days, the game had generated revenue of $666 million, a number of satanic irony that propelled Diablo IV to become Activision’s fastest-selling game. Practically defacing a church comes with plenty of risks, but the effort harkens to 72andSunny’s emphasis on delivering unexpected moments. Succeeding in this endeavor requires being comfortable with the unknown, said Murphy. In the advertising world, one of the foremost uncertainties is AI and its cumulative impact on the creative industry. Murphy respects the tools, equating them to sparring partners, but doesn’t view them in the same evangelical light as some of his counterparts. “It’s not going to hand you the answer,” he said. “The chatbots don’t feed my curiosity.” Instead, 72andSunny continues to lean on culture to guide its creative whims, as well as prioritize hiring younger marketers who are simply better at understanding its fluctuations, said Shutt. These employees must be having a good time, too; 72andSunny saw a retention rate of more than 81% in 2023, as compared to the industry benchmark of roughly 70%. “We don’t look back, but keep blazing a path forward,” said Murphy. See all of Ad Age’s 2024 Agency A-List winners here

How 72andSunny channels creativity through unexpected moments

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