The Beauty Inside – Intel and Toshiba Laptops
This 2012 web series is often cited as the gold standard of branded storytelling. Created by Drake Doremus (Like Crazy), the series tells the story of a man who wakes up every day in a new body. At the heart of it? A laptop that stores his identity and memories, sponsored by Intel and Toshiba.
What worked: The product was essential to the plot but not the star. It supported character development, not just brand visibility. The series won an Emmy and is still referenced in brand filmmaking circles more than a decade later.
Stranger Things – Coca-Cola’s Throwback Done Right
In Season 3, Coca-Cola’s infamous 1985 New Coke got screen time, both as nostalgia bait and an ironic nod to product placement history. Rather than hiding the brand, the show embraced it, making it part of the retro experience.
What worked: The placement was tongue-in-cheek, era-appropriate, and added to the authenticity of the show’s setting. Coke didn’t just tolerate the joke; they leaned into it with real-life re-releases.
House of Cards – Apple Products as Prestige Signals
From the first season, House of Cards was practically a showroom for Apple devices. iPhones, iPads, and MacBooks appeared constantly, but never with fanfare. They were just… there, as they would be in real life for high-level political operatives.
What worked: Ubiquity without overexposure. Apple products fit the environment, added realism, and became part of the show’s visual language. No dialogue, no awkward plugs–just presence.
The Italian Job (2003) – Mini Cooper’s Breakout Moment
BMW’s Mini Cooper wasn’t just featured, it was central to the film’s action sequences. The brand even adjusted their design to allow stunts to be performed. Sales of the vehicle spiked dramatically after the film’s release.
What worked: The product wasn’t just integrated, it became iconic. The placement was flashy, but earned, and helped reposition Mini Coopers as cool, nimble, and urban.
Chef – Favreau Cooks Up a Food Truck Empire with Twitter’s Help
In Chef, Twitter plays a low-key but pivotal role as Jon Favreau’s character reinvents himself online. The film doesn’t sell the app, it uses it. As the character gains followers, it becomes a visual motif (via animated tweets) that drives the narrative.
What worked: The product wasn’t promotional, it was functional. Twitter allowed the character to connect with audiences, which is the same thing the film does with viewers.
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