Summer is the season of crazy unexplainable romances. So Cornetto decided to launch the Love Plane in Spain which had a Twitter based banner feed attached to it.
Summer lovers who wanted to declare their love both online and in the sky could do so by tweeting with the hashtag #cornettoskytweet. The most popular tweets were then painted on the banner and flown over the beach. To keep things interesting the banner on the plane was changed every 15 minutes.
Coca-Cola in Romania seems to have broken new ground in the country with its integration between Twitter and TV, as it included live consumer tweets during its ad.
The insight for the campaign came from the fact that in Romania 60% of people don’t eat meals together, but instead eat them alone while sitting in front of their TV. So Coca-Cola decided to use tweets to create open invitations for people to actually come together and have a meal with a Coke.
As shown in the video below, the TV ad included a subtitle bar that was used to run the tweets that consumers sent using the hashtag #LetsEatTogether. Coca-Cola’s ad agency, MRM Worldwide, then edited the tweets and inserted five to seven of them into each ad placement.
The campaign increased Coke’s Twitter followers in Romania by 15% as hundreds of tweets were aired on TV. The campaign even made it to the evening news as its uniqueness made Romanians wait everyday for the ad.
The execution is simple. It borrows the visual language of TV subtitles, then uses it for social proof. Viewers see real people inviting others to eat together, in real time, inside the ad break itself. That makes the message feel less like a brand instruction and more like a public invitation.
It also turns participation into a lightweight ritual. Tweet the hashtag. Watch for your message. Share the moment when it appears. The format gives people a reason to keep an eye out for the ad, which is the opposite of what usually happens during commercials.
What did Coca-Cola Romania do in this campaign?
They integrated live consumer tweets into a TV ad by running curated hashtag messages in a subtitle bar during the commercial.
What was the insight behind #LetsEatTogether?
That many people in Romania ate alone in front of the TV, so the campaign used tweets as open invitations to share meals together.
How were tweets handled for broadcast?
Tweets using #LetsEatTogether were edited and five to seven were inserted into each ad placement by the agency.
What changed in performance?
Coke’s Twitter followers in Romania increased by 15% and hundreds of tweets were aired on TV.
What is the core lesson for cross-media experiences?
If you bring live participation into the primary screen, you can turn an ad break into an event people actively watch for.
Volkswagen Netherlands set out to launch the new GTI in a way that feels fast before anyone even touches the accelerator. The result is an online race staged inside banner advertising, but mapped onto the physical logic of the real world.
Four popular Dutch websites are painted as the runway of an airport, each banner space measuring 20 metres wide and 25 metres long. On race day, 13th September, participants chase the GTI as it speeds through the banner spaces of each site. The person fast enough to catch the new GTI wins the car in real life.
The mechanism is a reframing of banner advertising. Instead of isolated rectangles, the banners become connected terrain. Each site represents a segment of runway. Movement between banners creates the illusion of distance, speed, and progression.
The GTI does not just appear. It moves. And because it moves, the user has a reason to stay alert, react quickly, and treat the banner as something to engage with rather than ignore.
In digital launch campaigns, turning passive media into an environment with rules is often the fastest way to earn attention without buying more impressions.
This works because it borrows from racing psychology. There is a single target. There is a clear win condition. And there is scarcity. Only one person catches the GTI. That tension transforms passive browsing into a moment of competition.
The prize is not symbolic. Winning the actual car anchors the experience in reality, which prevents the activation from feeling like a disposable digital trick.
The business intent is to translate the GTI’s performance DNA into a digital format. Speed, responsiveness, and thrill are not explained. They are simulated. The banner becomes a proxy for the car’s character.
At the same time, Volkswagen demonstrates that standard media formats can still surprise when they are treated as systems instead of slots.
The making-of video shows how the different banner environments were aligned, timed, and stitched together to behave like a single runway across multiple sites.
The banners are connected into a continuous race environment, turning advertising space into gameplay instead of static exposure.
Because racing instantly communicates speed and performance, which are core to the GTI identity.
The experience would still be novel, but the real-world reward dramatically increases urgency and participation.
They become part of the environment. Each site is a segment of the runway rather than just a host for an ad.
When you turn media formats into systems with rules and progression, people stop skipping and start playing.
