Pizza Hut: Pie Tops II

Pizza Hut: Pie Tops II

Pizza Hut is the official pizza of the NCAA, a men’s basketball tournament known informally as March Madness and played each spring in the United States.

For last year’s tournament, Pizza Hut created what was billed as the world’s first shoe that ordered a pizza. Now, to celebrate their second year as the official pizza of the NCAA, Pizza Hut, Droga5 and the Shoe Surgeon launched Pie Tops II. It is a limited-edition high top shoe that not only uses your geolocation to order the current Pizza Hut deal at the press of a button, but also allows users to pause the game while they receive their delivery.

A TV ad has also been released to highlight the new pause feature of these newly relaunched Pie Top shoes.

A sneaker button that behaves like a remote

The mechanism is deliberately simple. Put a single button on the shoe. Tie it to an app. Map the press to two jobs: order, then pause. The shoe becomes a physical shortcut for a very specific March Madness moment, when people want food but do not want to miss play. That works because it removes friction at the exact moment attention is highest.

In second-screen sports viewing, the strongest interactions reduce interruption while keeping attention on the live game.

Why it lands on game day

Pie Tops II works because it converts a familiar tension into a prop. Hunger versus attention. Convenience versus FOMO. The “pause” feature turns a delivery problem into a punchline, and the shoe format makes the whole thing instantly tellable.

Extractable takeaway: If you can turn a high-frequency habit into a one-action ritual, you make the brand feel like part of the event, not just an ad around it.

The real intent behind the novelty

This is not really about footwear. The real question is how Pizza Hut earns a place inside the live ritual instead of advertising around it. It is about owning a behavior loop during March Madness. By behavior loop here, I mean a repeatable sequence of trigger, action, and reward that keeps the brand attached to the moment. Pizza ordering, deal recall, and a reason to talk about Pizza Hut in the same breath as the game. The smart move here is not the gadget but the way it turns brand utility into event behavior. Limited-edition scarcity does the rest, because it makes the product itself a piece of shareable culture.

What brands can steal from Pie Tops II

  • Pick one moment to own: design for a specific tension that happens repeatedly during an event, not for “sports fans” in general.
  • One control, two outcomes: a single action that triggers both utility and delight is more memorable than a complex feature list.
  • Make the object do the storytelling: the product should explain the campaign in one sentence, even without a logo.
  • Build viewer control into the idea: letting people keep the game in their hands makes the brand feel helpful, not interruptive.
  • Scarcity as distribution: limited runs can function like media spend when the object is inherently talkable.

A few fast answers before you act

What are Pie Tops II?

They are limited-edition Pizza Hut sneakers designed for March Madness that let you order pizza via a button press and, as described, pause the game while you wait for delivery.

What problem is this campaign solving?

It dramatizes a familiar game-day problem. People want food without missing play. The stunt turns that tension into a memorable product feature and a shareable story.

Why does the “pause” feature matter more than the pizza-ordering feature?

Ordering is convenient. Pausing is emotionally resonant because it speaks directly to FOMO during live sports. It is the twist that makes the idea travel.

Is this wearable tech or brand entertainment?

It is primarily brand entertainment packaged as a functional shortcut. The utility makes it credible. The novelty makes it worth talking about.

What is the reusable pattern for other brands?

Create a physical or tactile shortcut for a high-frequency moment. Keep the interaction to one obvious action. Then tie it to an event where people already have strong emotions and repeat behaviors.

The hardest karaoke song in the world

The hardest karaoke song in the world

Iceland launches a tourism campaign that turns its “notoriously difficult-to-learn” language into a challenge you can sing. The hook is a catchy karaoke track called “The A-Ö of Iceland”, designed to help tourists get to grips with Icelandic by working through the 32 letters of the Icelandic alphabet and pairing them with common words and phrases.

Performed by Icelandic comedian Steindi Jr, the song leans into the joy of trying. It plays with the difference between a torfbær (turf house) and a bílaleigubíll (hire car). It also makes you remember to pack your sundskýla (trunks) for the sundlaugar (swimming pool).

The Iceland tourist board then releases a companion video showing tourists attempting to sing along. The result is exactly what the campaign promises. A playful struggle that makes the language feel less intimidating and the destination feel more human.

The real question is how you turn a language barrier into something people want to try, loudly, in public.

Why this works as tourism marketing

Language is often positioned as a barrier. This flips it into a shared experience. You do not need perfect pronunciation to participate. You just need curiosity and a willingness to try.

Extractable takeaway: When you turn “difficulty” into a shared game, you lower the psychological stakes and make participation feel safe, which makes the destination more memorable.

Karaoke is the format. Participation is the strategy

Karaoke is not just entertainment here. It is a behaviour pattern people already understand. Follow the lyrics. Try to keep up. Laugh at yourself. Share the attempt. This is stronger than a standard “learn a few phrases” explainer because it replaces instruction with participation.

That makes the campaign naturally distributable. Here, “distributable” means the audience can repeat the format themselves, not just watch it once. Because karaoke bakes in imperfect attempts, it normalizes mispronunciation and lowers the intimidation factor, which is why the content travels.

In destination marketing, especially where visitors expect language friction, turning that friction into a low-stakes performance is a reliable way to increase participation.

The pattern to steal

If you want to make a cultural “friction point” feel inviting, the structure is replicable:

  • Choose a real friction point. Pick one authentic challenge the audience expects.
  • Package it as a game. Turn it into a lightweight challenge with a clear beginning and end.
  • Let attempts be the proof. Let the audience generate the proof of participation through their attempts, not through brand claims.

A few fast answers before you act

What is “The A-Ö of Iceland”?

A tourism karaoke song that walks through the 32 letters of the Icelandic alphabet and teaches common words and phrases.

Who performs the song?

Icelandic comedian Steindi Jr.

What is the campaign asking tourists to do?

Try to sing along and, in the process, get more comfortable with Icelandic.

Why include a companion video of tourists trying?

It shows that participation is the point and invites viewers to imagine themselves attempting the song.

What is the core marketing idea?

Turn language difficulty into an enjoyable participation challenge so the destination feels accessible, memorable, and shareable.

A Can Size for Every Aussie

A Can Size for Every Aussie

Kraft launches four new sizes of Heinz baked bean cans with a three-minute “life narrative” film. It follows Geoff, a man addicted to beans, and his future wife, whom he meets in the spaghetti department. The story builds to the punchline. Geoff “invents” a range of can sizes that feels perfect for different Australian occasions.

The creative choice is doing a lot of work. It turns something that is normally functional and forgettable. Pack size. Into a character-driven narrative that is easy to watch and easy to remember.

The insight behind the pack strategy

In 2016, Kraft commissions consumer and shopper research to understand how Australians use Heinz beans and spaghetti. The key finding is straightforward. People want ideal can sizes that suit different occasions.

Four sizes is not “more choice” for its own sake. It is a response to a usage reality. One household does not always need the same portion format.

Why a film is the right container for a packaging story

Packaging benefits can sound like rational product copy. This film makes the point emotionally, then lands it practically.

Extractable takeaway: When the product change is useful but easy to ignore, story can turn the format logic into something people can retell.

In FMCG portfolios, format expansion only scales when shoppers can instantly see why each variant exists.

This is the right strategic move because the job is not to announce four SKUs. It is to make each size feel like an intuitive answer to a real usage moment, so the portfolio looks helpful instead of bloated.

The real question is whether the audience immediately understands why more pack formats improve everyday use.

The narrative format also solves a distribution problem. It gives the campaign a reason to be watched and shared even by people who do not currently care about can sizes.

What to steal if you are launching format variants

  • Start with a concrete usage insight, not a portfolio decision.
  • Give the variant story a memorable mental model. Here, “a can size for every occasion.”
  • Use entertainment to earn attention. Then let the product logic feel obvious, not forced.

A few fast answers before you act

What is being launched here?

Four new sizes of Heinz baked bean cans.

What insight drives the launch?

Kraft’s research shows Australians are looking for ideal can sizes to suit different occasions.

How is the launch communicated?

Through a three-minute life narrative film featuring Geoff and his future wife in the spaghetti department.

What is the core marketing technique?

Use story to make a functional packaging benefit feel human, memorable, and worth sharing.

Why not just announce the new sizes directly?

Because the film helps the audience feel the usefulness of the size range, rather than processing it as a dry packaging update.