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Welcome to The Brief by Kuro House, your daily dose of sharp, insightful updates from the world of marketing, media, and brand strategy. I’m glad you’re tuning in today, because we’ve got a fascinating mix of stories—from Super Bowl ad campaigns with a cause, to the future of TV advertising with AI, to the heated intersection of retail and immigration politics. Let’s get into the details.
First up, a powerful campaign returning to one of the biggest platforms in American media: the Super Bowl. The Blue Square Alliance Against Hate, founded by Robert Kraft, is back for its third consecutive year with a $15 million Super Bowl spot focused squarely on standing up to antisemitism. Their new 30-second ad, “Sticky Note,” created by VML and directed by Jake Scott, opens with a teenage boy being bullied at school. When he finds a hateful “Dirty Jew” note on his backpack, another student covers it with a blue square and offers support, saying, “I know how it feels.” The ad then shares a sobering statistic—two in three Jewish teens have experienced antisemitism—and calls on viewers to “share the square” as a signal against hate. This blue square has become a global symbol, with 5 million pins in circulation. The campaign is deeply rooted in data: Jews make up just 2% of the U.S. population, but are the target of nearly 70% of faith-based hate crimes. Despite this, the Blue Square Alliance’s research shows that 58% of Americans don’t think antisemitism is an issue, and only 32% would speak up against it—a drop from last year. Kraft’s message is clear: unity and solidarity are needed now more than ever, and the hope is that this ad inspires millions to reject hate in all its forms. As Adam Katz, BSA’s president, puts it, “Hate will not be defeated unless we take it upon ourselves to stand up to it.” You can read more about this campaign on Adweek.
Super Bowl ads aren’t just about social causes—they’re also a playground for celebrity creativity. TurboTax’s official Super Bowl LX ad features Oscar-winner Adrien Brody, known for films like “Asteroid City” and “The Brutalist.” In a clever twist, Brody plays himself, but in his “most emotionally challenging role yet”: a TurboTax expert. The 45-second spot, developed with R/GA, is part of the brand’s “Now This is Taxes” platform, aiming to make tax season less stressful and more approachable. TurboTax’s VP of marketing, Trevor Kelley, says the goal is to reinforce trust and show that TurboTax can take the pain and drama out of taxes—delivered with a dose of entertainment. This campaign isn’t just about the Super Bowl; there are shorter versions running in pregame, and a two-minute extended cut for digital, theaters, and even TurboTax’s new flagship retail location in Manhattan. This marks TurboTax’s 13th consecutive year advertising during the Big Game, a testament to how the brand uses humor and star power to keep itself top of mind during tax season. Check out the full ad and the extended cut on Adweek.
Speaking of Hollywood talent in the ad world, Matthew McConaughey recently opened up to Adweek about his love for making commercials—and he’s not just cashing a check. McConaughey describes shooting ads as “little vacations,” a chance to play with rhythm, timing, and comedic punch in a compressed format. He’s back on set with Uber Eats for their Super Bowl ad, working alongside Bradley Cooper and Parker Posey, and he relishes the challenge of fitting a compelling story into 30 or 60 seconds. For McConaughey, the decision to do an ad comes down to authenticity: does it align with his values, or is it just a paycheck? He’s proud of projects that are philanthropic or support American-made products, like his Lincoln spots, and he loves the creative process of refining scripts and finding the right comedic beats. Uber Eats, he says, excels at creating meme-able social content that builds up to the main ad—a “prelude to the platter.” He also draws a sharp contrast between commercial work and film, noting that ads require a much tighter rhythm and instant payoff. And when it comes to his work with Salesforce, McConaughey’s role goes beyond pitchman—he’s involved in script development and messaging, aiming to build trust and make complex tech accessible to everyday people. For him, it’s all about scratching that creative itch and reminding audiences that he’s got comedic chops, too.
Now, let’s zoom out from the world of entertainment and look at a major issue facing one of America’s biggest retailers. According to Modern Retail, Target is under fire for its response—or perceived lack thereof—to increased ICE (Immigration and Customs Enforcement) activity in its home city of Minneapolis. The controversy flared after federal agents detained two Target employees outside a store, sparking protests from groups like ICE Out of MN Coalition and Unidos MN. The American Federation of Teachers, which holds millions in Target stock through pension funds, has called on the new CEO, Michael Fiddelke, to publicly denounce ICE and meet with union leaders. The pressure isn’t just local—protests have spread to Target stores in Chicago, Philadelphia, Seattle, and beyond. Critics point out that Target, once vocal on issues like racial justice and LGBTQ inclusion, has become more restrained in its messaging since the reelection of President Trump. Communications experts argue that this silence risks eroding trust with both consumers and employees, especially given Target’s past commitments to social responsibility. The company’s official response has been cautious, emphasizing safety and support for peaceful protest, but stopping short of directly condemning ICE. As one professor put it, Target is in a “really tough spot” because of its branding and geographic location, but the long-term risk to brand value may outweigh the fear of political retaliation. This story highlights the growing expectation for brands to take clear stances on social issues—and the risks when they don’t.
Finally, let’s look at the future of TV advertising, where AI is poised to revolutionize how ads are bought and sold. Digiday reports on NBCUniversal’s recent test using agentic AI to automate ad sales during a live NFL game. Ryan McConville, NBCU’s chief product officer, describes this as “premium automation”—a leap beyond the basic programmatic systems like OpenRTB, which can handle simple ad buys but not the complex, bespoke packages typical in TV. Think of it like travel booking: where programmatic is like using Kayak to book a flight and hotel, agentic AI is the personal travel agent who can arrange a spa package, specific room, early check-in, and more. For TV, that means an advertiser could request to be the first ad in every pod during the first half of a game, the last in every pod in the second half, and then do a takeover at the end—something current systems can’t handle. NBCU’s proof-of-concept, run with agency RPA, Newton Research, and FreeWheel, showed that AI agents can manage these complex deals in real time. This shift could restore some of TV’s unique value, which has been eroded by the push toward commoditized programmatic buying. The article also touches on broader industry trends, from TikTok’s ongoing U.S. challenges to predictive AI models for influencer marketing, but the big takeaway is that agentic AI could finally bring true automation to TV’s most premium, customized ad experiences.
That’s it for today’s Brief. As we’ve seen, the marketing world is grappling with big questions—how to use the Super Bowl’s massive reach for good, how celebrities shape brand narratives, how retailers navigate political minefields, and how technology is reshaping the very fabric of advertising. Thanks for spending a few minutes with us to stay sharp and informed. We’ll be back tomorrow with more stories that matter to marketers. Until then, keep questioning, keep learning, and keep leading the conversation.
