KILLING EVE SEASON 2 - PUBLIC DISPLAYS OF OBSESSION
Title | KILLING EVE SEASON 2 - PUBLIC DISPLAYS OF OBSESSION |
Brand | BBC |
Product/Service | KILLING EVE SEASON 2 |
Category |
B04. Use of Print or Outdoor |
Entrant
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BBC CREATIVE London, UNITED KINGDOM
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Idea Creation
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BBC CREATIVE London, UNITED KINGDOM
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Credits
Laurent Simon |
BBC Creative |
ECD |
Michael Lean |
BBC Creative |
Head of Planning |
James Wood |
BBC Creative |
Head of Production |
Jenny Double |
BBC Creative |
Senior Planner |
Susan Ayton |
BBC Creative |
Creative Director |
Stuart Gittings |
BBC Creative |
Creative |
Emma Brooke |
BBC Creative |
Creative |
Ashley Temple |
BBC Creative |
Creative Director - Social |
Rachel Roberts |
BBC Creative |
Producer |
Sophie Knott |
BBC Creative |
Production Manager |
Georgina Williams |
BBC Creative |
Production Coordinator |
Astrid Reiner |
BBC Creative |
Project Manager |
Eleanor Risdale |
BBC Creative |
Senior Designer |
Ronnie Law |
BBC Creative |
Designer |
Joao Miranda |
BBC Creative |
Designer |
James Nolan |
BBC Creative |
Designer |
Harriet Gunning |
BBC |
Marketing Manager |
Leah Hennessy-Williams |
BBC |
Marketing Executive |
Elysia Mountain |
BBC |
Marketing Executive |
n/a n/a |
The PPC |
Post Production/Sound/Grade/Editor |
Why is this work relevant for Brand Experience & Activation?
This idea takes the main characters from a popular TV series and brings their plotline into our world in a very real and twisted way. By staggering the release of the OOH, we made it feel as if the two characters were communicating in real time. The posters also contained a phone number as an Easter Egg to drive additional engagement.
background
To promote Killing Eve Series 2, we were tasked with showing the growing obsession between the two main characters: psychopathic assassin Villanelle, and Eve Polastri—the MI6 agent who hunts her. Season 1 had left off with a dramatic cliff hanger, so we needed to show that these two women were back and more obsessed with one another than ever.
Describe the creative idea (20% of vote)
We had Villanelle and Eve’s game of cat and mouse play out as a conversation on posters across the UK—or “Public Displays of Obsession.
Describe the strategy (20% of vote)
We used our ‘scaling up storytelling’ approach which allows us to deliver impact around launch and fuel conversation and engagement once the series is available.
Describe the execution (30% of vote)
Thousands of posters went up in major cities across the UK. For week one, psychopath Villanelle left Eve messages that got increasingly obsessive.
Week two, Eve finally responded on the posters with her phone number. This Easter egg was quickly spotted by the public who rang the number and got Eve’s voicemail. The posters were purposely unbranded, but the hash tag was in the iconic Killing Eve typeface, and linked to the S2 trail when searched.
List the results (30% of vote)
Photos of posters were shared across social with praise from the public enjoying the dark chase between the two characters. Thousands of phone calls were made to Eve’s number. There were 30.7 million OOH impressions and it was the number one tracked BBC OOH to date. And to top it off, Killing Eve Series 2 was the most-watched TV show on day of launch.