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When Wieden+Kennedy launched "The Man Your Man Could Smell Like" in February 2010, Old Spice already owned decades of recognition and a place on the shelf. What it lacked was relevance with a younger buyer. The agency kept the equity and rebuilt the voice around a single sharp insight: women make a large share of body wash purchases for the men in their lives, so Isaiah Mustafa addressed them directly, with confidence and humor, per Wikipedia's campaign record and Wieden+Kennedy's own case documentation.

In April 2022, Costco brought its sample stations back to warehouses nationwide after a 14-month pandemic pause, a return covered by TODAY, Taste of Home, and Adweek and greeted by members like the reopening of a favorite ritual. The demonstrations run through Club Demonstration Services, the specialist sampling operator that has staffed Costco warehouses for decades, and the small cup of food it hands out is one of the most efficient marketing tools in modern retail.

The staying power is the story. Spider-Man: No Way Home earned close to $1.9 billion worldwide and ranks among the highest-grossing films ever, according to The Hollywood Reporter, NBC News, and AOL, and as far back as 2013 The Licensing Letter data reported by The Hollywood Reporter, ComicBook.com, and Gizmodo placed Spider-Man first among superheroes in global retail merchandise at roughly $1.3 billion a year, ahead of Batman and the Avengers.

In July 2026, Christopher Nolan released The Odyssey as the first narrative feature shot entirely on IMAX film cameras, and he built the release around that constraint. Fewer than 40 theaters worldwide can project a true IMAX 70mm print, according to reporting from Fortune and Variety, and Universal put tickets on sale a full year before the release date. Variety documented showings selling out seven weeks in advance, with even 3 a.m. screenings at New York's Lincoln Square running clean.

On Black Friday, November 25, 2011, Patagonia bought a full-page advertisement in The New York Times. It showed one of the company’s best-selling fleece jackets under a two-word headline: “Don’t Buy This Jacket.” The copy accounted for that single garment’s footprint, noting that it emitted several times its weight in carbon, generated more than half its weight in scrap, and drew down copious freshwater, then asked shoppers to buy less and repair more. Patagonia chose the Times because it carried a national audience on the busiest retail day of the year, and it chose print because a claim printed on the page stays fixed, invites scrutiny, and signals that the brand stands behind every word.

Tiffany treats a display window as the opening scene of a production. Color, light, and movement guide the eye to a single hero object, spark curiosity, and invite the passerby inside, where interior vignettes create pauses that let a piece land before a conversation begins. Each scene tells a short, focused story about origin, craftsmanship, or emotion, so a shopper connects with the product quickly and the visual merchandising does the work of an opening line.