DAILY INSIGHTS

DAY 1
DAY 2
DAY 3
DAY 4

DAY 1

CONNECTING WITH AUDIENCES THROUGH SPORTS & ENTERTAINMENT IP

7 in 10 global consumers surveyed in dentsu’s Consumer Vision 2035 research said they are more likely to spend more on products, services, and brands that are associated with franchises (such as movies, TV shows, videogames or sports teams) that they are passionate about. This shows the extent to which Sports and Entertainment IP can be an unparalleled catalyst in bringing culture and commerce together.

Monday, June 16th dentsu inaugurated its presence at Cannes Lions by announcing the expansion of its global Sports & Entertainment offering, building on its significant heritage in Japan as well as its international footprint in this rapidly growing sector to meet client demand. The expansion includes the international launch of anime solutions – this being a form of entertainment which, according to a 2025 dentsu global research report, is now enjoyed by as many as 3 in 10 global consumers on a weekly basis.

This provided the backdrop for a series of discussions at the dentsu Beach House in Cannes on how Sports and Entertainment IP can help brands connect with audiences who are craving authentic integrations into the franchises they are most passionate about.

AN INTRODUCTION TO DENTSU SPORTS & ENTERTAINMENT

·The session ‘An Introduction to Dentsu Sports & Entertainment’ reflected on the increasing convergence that is occurring between scripted IP (such as movies and television shows), sports, gaming, and the creator landscape across social platforms. The storytelling element these platforms afford to today’s athletes is blending sports more into traditional entertainment, as reflected upon in the later sessions ‘In Conversation with Michael Johnson’ and ‘UR Cristiano: Ronaldo’s Journey from Football Icon to Media Player’. This convergence was celebrated by Cannes Lions as it awarded a Grand Prix in the Outdoor category to the Paris 2024 Olympic Games Opening Ceremony, a celebration of diversity that brought together performers like Lady Gaga and Celine Dion and athletes like soccer world champion Zinedine Zidane.·

Recognizable entertainment IP holds an incredible power to drive brand adoption, and to do so in an incredibly short amount of time. Budweiser’s ‘One Second Ads’, which was awarded the Grand Prix in Audio and Radio, was a fantastic example of this phenomenon. The campaign featured ads on TikTok that, instead of lasting the usual 30 seconds, played the single, initial second from popular rock and pop anthems, encouraging fans to guess the tune in exchange for a coupon code. The campaign accomplished its goal of zero ads being skipped on the platform.

AN INTRODUCTION TO SPORTS AND ENTERTAINMENT | DENTSU

MICHAEL JOHNSON ON THE FUTURE OF ATHLETICS

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MAKING HEALTHCARE ISSUES VISIBLE

Monday is the night Healthcare and Pharma Lions are awarded, and this year we saw a focus in these categories on wanting to find new solutions to make issues in healthcare visible in innovative ways. Often, one of the major reasons why certain diseases and issues don’t get enough attention is that we don’t see what sufferers are experiencing.

Aritium’s PainVisible campaign was awarded a Bronze in Pharma for developing an app that leverages a thermal camera and AI to make pain visible. This helps doctors diagnose and treat sufferers who cannot describe the pain they are experiencing (such as babies, or individuals with Down syndrome, autism, or cerebral palsy).

Meanwhile, Visiongram was awarded a Bronze in the Health & Wellness category for its ability to allow the visually abled to see the world in the same way as loved ones with visual impairments. Another example of how technology is being used to help the health ecosystem get a better ‘read’ and thus deliver better care Alkem Laboratories’ DawAI Reader, a tool that leverages AI to help pharmacist ‘decode’ handwritten doctor prescriptions in rural India, ensuring patients are being treated with the appropriate medication, at the appropriate dosage.

THE PEN...STILL MIGHTIER THAN THE SWORD?

We live in a digital-first world where the reality we experience is ever-changing, constantly updated, and edited. While the flexibility that this awards us unlocks convenient experiences that were unthinkable in our analog past, it also burdens us with a sense of constant uncertainty and, in some cases, with the dangers of misinformation.

Monday night is when some of the Classic craft categories (such as Outdoors, Print, Audio & Radio) are awarded at Cannes Lions, and this year we saw a celebration and reaffirmation of the value of the assuredness that comes hand in hand with putting things in black and white.

German grocery chain Penny was awarded the Grand Prix in Print and Publishing for ‘Pricepacks’, a campaign that alleviated shoppers’ concerns by printing (in large, bold, unmissable typeface) the price of products on packages as a promise of price stability amid inflation.

The Times of India Group was awarded a Gold in the Print and Publishing category for ‘Ink of Democracy’, a campaign that involved printing the newspaper with the same purple ink used in India to mark voters' fingers after they cast their vote (to prevent vote duplication). In the last election, India experienced a 33% decrease in voter turnout, resulting in 7,500 litres of purple ink going unused. The purple newspaper edition reminded the population not to take democracy for granted.

This notion was also very much at the core of Canal Historia’s project ‘History Outnumbered’, which was awarded a Bronze in the Outdoors category. The campaign fought the rise in white supremacy propaganda by turning wounds into warnings. It collaged photos of the numbers inked on the arms of holocaust survivors to show the gravity of the rise in popularity of white supremacy content in recent years (for instance, the number of TikTok remixes of Hitler speeches).


DAY 2

IN A WORLD OF INFINITE INTELLIGENCE, EMOTION IS THE ULTIMATE ASPIRATION

A Tuesday session at the Palais titled ‘AI and the Future of Creativity’, featuring Mustafa Suleyman, CEO of Microsoft AI, remarked that the advancements experienced in the field of Artificial Intelligence in the last three years are giving birth to a new era of infinite and free intelligence at the disposal of brands. After an initial wave in which AI was mostly used for recognition, and the second wave in which it started being deployed for the generation of information and assets, we are now about to enter the next wave where AI models will be capable of originating, iterating and executing complete plans with an objective.

This revolution will lower technical barriers to those of us with a more artistic mind (as we will be now in a position to develop programs and functional applications even if we can’t ‘speak code’) and unlock the ability to create and communicate in objects and surroundings we have traditionally considered ‘mute’. We started to see the latter in action among some of the Cannes Lions winners this year, such as Hyundai’s ‘Night Fishing’ – a 10-minute film shot entirely by camera cars, which was awarded the Grand Prix in the Entertainment category – and in ‘Tree Correspondents’ (also a Hyundai sponsored project), a combination of a unique algorithm that allowed trees to cross-reference their own lived experienced with global datasets documenting the weather, their surroundings, etc. over the years, and a proprietary language model built to enable trees to convey their experience through storytelling, and to author 28 articles aimed at major press publications to raise awareness on the issue of deforestation ‘from the trees own point of view.’

This raises the question: how will the landscape of creativity evolve when not only humans, but everything, even cars and trees, can tell infinite stories?

THRIVING IN A LIMITLESS & EVOLVING CREATIVE LANDSCAPE

In his 1974 song ‘Dirge’, Bob Dylan sang: “In this age of fibreglass, I’m searching for a gem.” The line encapsulates how the artistic mind, the creative mind, is driven, if not doomed, to strive to look beyond what is becoming commoditized. A Rotonde session titled ‘Creatives in Action’ suggested that as the progressive democratization of intelligence-powered content creation will saturate the field with optimized, high-standard work, differentiation will thus become driven by ideas that come from a place of deep emotion, that carry weight, sometimes even come from heartache. The proponent of this notion was Alice Chou, Chief Creative Officer, Dentsu Creative, APAC, who summarized how emotion and human insight will be the traits that keep brands ahead in an age of tech commoditization by saying that “creativity is the translation of emotion.”

This notion was reflected by two incredible examples of work celebrated by Cannes Lions this year. The Chicago Hearing Society project ‘Caption with Intention’, which was awarded both the Grand Prix in Design and the Grand Prix in Digital Craft, is revolutionizing closed captions used in movies so that tone, mood, and emotions can finally be conveyed to and translated for hearing-impaired viewers. On the other hand, nonprofit Change The Ref launched ‘The Final Exam’, a video game that simulates a school shooting to educate gamers on life-saving gun legislation and motivate political action. The idea here is to challenge the narrative that video games contribute to real-world gun violence and instead use immersive play to convey the feelings experienced in such a terrible circumstance, as players are tasked to collect five hidden legislative bills in a hyper-realistic survival scenario.

TURNING F1 FANDOM INTO BRAND GROWTH

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HOW AZUKI AND DENTSU USE ANIME TO BUILD BRANDS WITH CULTURAL POWER

ANIME IS NO LONGER A NICHE. IT’S MAINSTREAM, EVERYWHERE

‘Complex emotions and character development that are not typically found in other types of entertainment content’ are cited by 30% of anime viewers as one of the drivers for preference for this form of entertainment in dentsu’s recent Global Research ‘Anime: A Growing Opportunity for Brands.’ A significant share of viewers surveyed in the research say that their opinion of a brand improves when anime IP is incorporated in products and promotions, and that this is particularly true among Gen Z and Millennial viewers. The potential opportunity for brands opened up by this sentiment is incredible, as the study shows that almost half of Gen Z and Millennial consumers globally watch anime on a weekly basis and that anime viewers are likely to splurge on merchandise that features their favourite characters or franchises.

Two sessions held on Tuesday at the dentsu Beach House reflected on these types of opportunities coming to fruition. In ‘A Conversation with Captain Tsubasa Creator Yōichi Takahashi’ integrations of the iconic soccer manga and anime with brands both within the realm of sports (such as F.C. Barcelona and Paris Saint-Germain F.C.) and outside of it (such as Panasonic) were discussed, while in the session ‘The Power of Culture: How Azuki and Dentsu Leverage Anime for Brand Building’ it was highlighted how anime is a type of entertainment IP that is easier for brands to work with, due to it being more flexible than traditional Western entertainment IP and also because it contains a variety of genres and unique philosophies attached to each specific title that create more organic opportunities for different brands to meet their target audience while authentically leaning into the space.


DAY 3

TECH-ENABLED CREATIVITY AT SCALE

Generative AI was, without a doubt, ‘the talk of the town’ at Cannes Lions for the last two years, but the reality was that, from a perspective of its role in the work showcased in the festival and its penetration in the day to day of the industry, it was still very much in an experimental phase. As of this year, it feels that it has transitioned into a core enterprise operation, with businesses starting to transform how they go to market in light of the new capabilities it has brought to bear.

As remarked in a dentsu Beach House Wednesday session titled ‘Gen AI in the Enterprise’, this is in no small part due to the role that companies like Adobe played in creating a standard for safe, orchestrated tools that are increasingly freeing up creatives from the repetitive and administrative burdens that to this day force them to spend two thirds of their time at work on tasks that are not creative in nature. Featuring Dentsu Creative and Ulta Beauty, the session reflected on how this revolution is now sparking change within marketing organizations, with the emergence of new roles (such as the ‘creative technologist’), the cross-hybridization of existing ones (designers copywriting, copywriters designing), and new partnerships across the C-suite with much deeper involvement of Chief Technology Officers and Chief Legal Officers in marketing activities.

The following session, ‘Scaling Creativity Without Sacrifice: How AI Is Redefining Content Production’, reflected on how the impact of AI is modernizing the content supply chain, from planning, to creation, to execution, activation, and finally measurement to close the loop and increasingly inject effectiveness in the entire creative and marketing ecosystem. As AI unlocks unprecedented opportunities for scale and efficiency, organizations are looking to ensure quality, consistency, and brand integrity are preserved, using platforms such as Adobe GenStudio to build a brand ‘ontology’ that can easily be used as a cornerstone and a stepping stone by teams globally and locally.

DEMOCRATIZING BRANDS WHILE KEEPING THEM ICONIC

Cannes Lions celebrated some examples of work that gave us a glimpse of what the world will look like when true-to-brand creativity is fully democratized, such as Lidl’s ‘Lidlize,’ which was awarded a Gold in the Direct category. Noticing the incredible engagement from its shopper community with product drops featuring the brand’s iconic red, yellow, and blue colour palette, the discount retail chain launched an AI platform that allowed consumers to turn any product - from luxury fashion bags, to coffee machines, to bicycles - into a ‘lidlized’ product. The community leaned in, generating 2,000,000+ products, and voted for the best product (the bike) which is now being produced and sold.

Cannes Lions also celebrated work that reinforces how a truly unique brand platform can stand the test of major tech paradigm shifts, such as the explosion of Generative AI. Awarded the Grand Prix in Media, Dove’s ‘Real Beauty Redefined for the AI Era’ is the last iteration on the brands 20+ year running ‘Real Beauty’ platform. Anticipating a new threat to the representation of women, as standard AI prompts often produce unrealistic beauty norms, Dove trained AI to generate images ‘according to Real Beauty ads’ and partnered with Pinterest to provide users with shareable, personalized videos of Real Beauty that, when pinned, contributed to transform Pinterest’s AI algorithm.

USING ATTENTION TO WIN THE COMMERCE BATTLE

JOSH DUHAMEL ON BRAND STORYTELLING & CREATIVITY

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SPORTS 3.0: HOW ATHLETES AND RIGHTSHOLDERS ARE MEETING FAN DEMAND IN NEW WAYS

USING DATA TO TELL HARD TRUTHS AND INSPIRE SOCIETAL PROGRESS

The aforementioned ‘Scaling Creativity’ session addressed how the increasing adoption of AI tools and measurable technologies is turning creatives within organizations into more analytical individuals who use data to interrogate their concepts and their executions. We saw a trend in the work celebrated at Lions with data being used as a provocation, to highlight inequalities and inspire societal change.

Consul Appliances’ ‘Efficient Way to Pay’, which was awarded the Grand Prix in Creative Data, calculated the impact that using 25+ year old appliances in 65% of Brazilian households had on their energy bills. Knowing that in the last decade their home appliances have become 40% more efficient from an energy consumption standpoint, Consul offered to families the ability to purchase new fridges, washing machines, and microwaves with no upfront payments, and then turned the difference between their old and new energy bills into interest-free installments spread out to as many months as needed to fully pay out the new appliances.

Awarded a Gold for Creative Data and both a Silver and a Bronze for PR, Asuniwa’s ‘Sato 2531’ calculated that, due to the fact that Japan law requires married couples to share a surname and that in 95% of the cases it is women who adopt their husbands’ names, by the year 2531 every person in Japan will be named Sato. The campaign generated further awareness for this data-led shocking insight by partnering with 40 brands, which all renamed themselves ‘Sato’ on the same day, as well as artists, manga characters, and athletes, who all changed their names to ‘Sato.’ Thanks to the awareness generated on the issue at an international level, the UN issued a recommendation to the Japanese government for a revision to the law within two years.


DAY 4

THE RISE OF COMMUNITY-TO-BUSINESS-TO-CONSUMER MARKETING

A Thursday session at the dentsu Beach House, titled ‘Pioneering The Future of Creation: Roblox, UGC Communities, and the Next-Gen Creators’, identified the rise of ‘C-B-C’ (Community-to-Business-to-Consumer) marketing as a major trend in the industry, driven by the popularity, especially among Gen Z and Gen Alpha, of ‘read-write-own’ open world platforms like Roblox. This platform can lean on as many as 100 million incredibly engaged and willing-to-spend daily active users, who often value their virtual identities more than their actual identities in the physical world, creating a context for brands to activate new sources of revenue that can potentially last forever, without making physical waste.

Cannes Lions celebrated examples of work this week that embody this new C-B-C model by making the community a strategic pillar of the big organizing idea the campaign revolved around. Unilever’s ‘Vaseline Certified’, which was awarded both a Grand Prix in Health & Wellness and a Grand Prix in Social and Creator, embarked on a quest to scientifically test an incredible amount of hacks from 450+ creators on TikTok involving the use of Vaseline jelly to officially verify which ones where safe and which ones weren’t. The campaign also had a red-carpet component, as one of the hacks consisted of rubbing Vaseline on a camera lens to create glamour shots and was performed during the Oscars. Skoda noticed how much love for the brand there was in the r/CarTalkUK subreddit and engaged the community to custom-build a new Octavia car model based on suggestions from members of that community. It then selected a few redditors and featured them in a campaign that involved a tour of Scotland and the North of England. Skoda’s ‘Redditor Edit’ was awarded Gold in both the Media and the Social & Creator categories. On the B2B front, Renault decided to address the car manufacturer business community by making available a series of patents it had developed over 15 years of research in EV safety, in order to support the industry transition away from less sustainable options. Renault’s ‘Un-patent’ campaign was awarded a Gold in Creative B2B.

DEALS AS A PLATFORM FOR CHANGE

Another Thursday panel, titled ‘The Shoppable Moment Phenomenon’, features insights from a recently published research report from dentsu and Roku on shoppable TV ads. One of the key insights is that, while they value personalization, consumers are increasingly more likely to pay attention to ads when they provide a promise of value exchange (whether that’s in the form of a coupon, or free delivery, or a limited-time promotion).

‘Deals’ command attention, especially at a time of economic uncertainty, and especially among younger generations who have developed a ‘thrifting’ mentality, having grown up with infinite retail options to browse at their fingertips. This humongous delta in attention that deals are able to drive was used by examples of work celebrated at Cannes Lions as a platform for change. Ziploc’s ‘Preserved Promos’ partnered with retailers to offer consumers the extension of the offers on expired coupons, as long as a Ziploc product was also added to the cart before checkout. This campaign was developed to help consumers at a time when they are struggling with inflation, and it was awarded the Grand Prix in Creative Commerce, as well as a Gold in the Direct category. Tata, a low-cost grocery chain in Uruguay, figured that consumers very often forget to bring to the store with them the reusable bags they are meant to use instead of banned plastic bags. This leads to frustration and the purchase of more reusable bags at a cost to the consumer, ending up with the creation of waste similar to what the ban of plastic bags was meant to eradicate. But while they might forget about a bag, consumers won’t forget about a deal, so Tata printed out unique bar codes on its next generation of reusable bags that customers can scan as they enter the store to get access to a list of personalized discounts for the day. The ‘Rewards Bag’ campaign was awarded a Gold in the Media category.

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CELEBRATING HUMAN MISCHIEVOUSNESS

As technology is helping brands do the right things more efficiently and effectively, work that celebrates uniquely human traits tends to stand out more. Lions celebrated examples of work this year that had in common mischievousness. Clash of Clans’ ‘Haaland Payback Time’ offered fans of rival clubs to Erling Halaand’s Manchester City the opportunity to take revenge on the center-forward (who has been playing this video game for many years). This campaign was awarded the Grand Prix in Entertainment, and a Gold in PR. O2’s ‘Daisy vs. Scammers’ featured an AI-generated granny designed to keep scammers on the line as much as possible, wasting their time so they couldn’t prey on other seniors, and was awarded a Gold in PR and a Silver in Digital Craft. Bar-B-Q Plaza, Thailand’s largest barbecue chain, reversed the iconic smile on its Kama-Chan mascot, and when customers begged to bring the original mascot back, the company’s CMO announced that the smile would be reversed back once 100,000 meals were sold. This entertaining piece of ‘blackmail marketing’ was awarded a Gold, in Creative Commerce.

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