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For the second year in a row, Coca-Cola turned to artificial intelligence to produce its global holiday campaign. The new ad replaces people with snow scenes, animals, and those iconic red trucks, aiming for warmth through technology. The response? A mix of admiration for the technical feat and criticism for what some called a “soulless,” “nostalgia-free” production.
Shel and Neville break down the ad’s reception and what it tells us about audience expectations, creative integrity, and the communication challenges that come with AI-driven content. Despite Coke’s efforts to industrialize creativity — working with two AI studios, 100 contributors, and more than 70,000 generated clips — the final product sparked as much skepticism as wonder.
The discussion explores:
Why The Verge called the ad “a sloppy eyesore” — and why Coke went ahead anyway
The sheer scale and cost of AI production (and why it’s not necessarily cheaper)
Whether Coke’s campaign is marketing, corporate signaling, or both
How critics’ reactions reflect discomfort with AI aesthetics in emotional brand spaces
Lessons for communicators about context, authenticity, and being transparent about “why”
Links from this episode:
- Coke’s AI Ad Isn’t Just Marketing. It’s Corporate Communications.
- Coca-Cola | Holidays Are Coming (YouTube)
- Coca-Cola | Holidays are Coming, Behind the Scenes (YouTube)
- Coca-Cola’s new AI holiday ad is a sloppy eyesore
- Coca-Cola Sparks Backlash With New, Entirely AI-Generated Holiday 2025 Ad, Insists ‘The Genie Is Out of the Bottle, and You’re Not Going to Put It Back In’
- Coca-Cola Is Trying Another AI Holiday Ad. Executives Say This Time Is Different
- What Coca-Cola has learned on its generative AI journey so far
- Coca-Cola’s AI Chief Dishes on Why the Brand Went Ahead With Another AI Holiday Ad
- Hilarious graphic shows how bad the Coca-Cola Christmas ad really is
- Remember kids, without the creative, we just have blank squares. It’s ALL about the CREATIVE.
The next monthly, long-form episode of FIR will drop on Monday, November 17.
We host a Communicators Zoom Chat most Thursdays at 1 p.m. ET. To obtain the credentials needed to participate, contact Shel or Neville directly, request them in our Facebook group, or email fircomments@gmail.com.
Special thanks to Jay Moonah for the opening and closing music.
You can find the stories from which Shel’s FIR content is selected at Shel’s Link Blog. You can catch up with both co-hosts on Neville’s blog and Shel’s blog.
Disclaimer: The opinions expressed in this podcast are Shel’s and Neville’s and do not reflect the views of their employers and/or clients.
Raw Transcript
Neville Hobson:
Hi everyone, and welcome to For Immediate Release, episode 488. I’m Neville Hobson.
Shel Holtz:
And I’m Shel Holtz. Coca-Cola is back with a holiday spot created using AI for the second year running, and the blowback is about as big as the media buy.
If last year’s criticism centered on uncanny humans, this year they tried to sidestep that by leaning into animals, snow, and those iconic red trucks. The problem is that a lot of viewers still found the whole thing visually inconsistent and emotionally hollow — more of a tech demo than Christmas magic.
The Verge didn’t mince words, calling it a “sloppy eyesore.”
This wasn’t a lone creative prompting a model in a dark room. According to The Verge, Coke worked with two AI studios — SilverSide and Secret Level — involving roughly 100 contributors. So when people say AI is taking work away from humans, this example complicates that argument. The project generated and refined over 70,000 clips to assemble the final film, with five AI specialists dedicated to wrangling and iterating those shots.
If you think of AI work as cheap and easy, that scale tells a different story. This was massive, industrialized production. Despite all that, audience reaction has been harsh. Delish collected consumer responses labeling the ad “soulless,” “nostalgia-free,” and — my favorite phrase — “intentional rage bait.” In other words, people felt provoked, not moved.
The general sentiment is familiar: “Just bring back the classic trucks or polar bears and let real filmmakers work their craft.” The level of blowback reflects a mainstream discomfort with AI aesthetics invading a beloved ritual.
So why is Coke doing this again? Partly for speed and efficiency, sure — but the more interesting rationale is signaling. As Forbes argues, this isn’t just marketing, it’s corporate communication: a message to investors and partners that Coke is a modern operator experimenting across its value chain. In that sense, the ad is a press release in moving pictures — “We’re innovating.”
Whether consumers cheer or jeer, the signal still gets sent.
For communicators, I see three takeaways.
First, scale doesn’t guarantee soul. You can throw 100 people and 70,000 clips at a film and still end up with something that feels off. Craft and continuity remain stubbornly human problems, and current video models still struggle with temporal consistency and art direction.
Second, context beats novelty. Holiday ads are about rituals and memories. When the urge to adopt AI clashes with audience expectations for warmth and authenticity, “innovative” can come across as “indifferent.” If you’re going to bring AI into sacred brand moments, you need strong creative guardrails — and maybe keep flagship storytelling human-first until the tools catch up.
Third, be explicit about your “why.” If your real audience is Wall Street or prospective partners, say so — ideally without sacrificing the consumer experience. Coke’s narrative of blending human creativity with new tools can work, but only if the end result still feels like Coca-Cola. Otherwise, you’re asking consumers to bankroll your R&D with their attention during the most sentimental time of the year.
These trucks will keep rolling — and so will the debate — until the models solve for continuity and feel. Brands risk trading wonder for workflow, and audiences know the difference.
That said, I watched this ad last night during Monday Night Football. Looking at it through that lens, I didn’t see what the critics were talking about. I suspect most of the audience didn’t either. The vast majority probably aren’t aware it was generated with AI and didn’t see any problem with it. I think the hypercritical responses are mostly from people who are following the AI conversation closely — and maybe looking for an excuse to slam something that wasn’t made by human creators.
Neville, what do you think?
Neville Hobson:
I watched the video on YouTube — both the global version and the one Coca-Cola uploaded for European audiences. Honestly, I couldn’t tell the difference. They’re exactly the same length. Like you, I thought it was well done.
It was pretty clear to me within a few seconds that it was AI-generated — not because it looked AI-generated, but because of the scale and scope. You just know they’d use AI for something like this.
Coke has used this theme for years — the trucks, the snow, the feel-good singing. This time, there aren’t any humans front and center; it’s all animals. But as storytelling, I thought it worked.
That said, I did see some severe critiques, particularly from design industry voices. Creative Bloq, for example, called it an example of “how a company risks decades of hard-won brand equity through the use of nascent tech that’s still not up to the job.” I think that’s a bit unfair and shows a lack of understanding of what Coke was really trying to do.
There’s also a fascinating behind-the-scenes video Coke posted. It’s narrated by AI voices — the same ones from NotebookLM, actually — so it’s an AI explaining an AI. And the prompts they show are incredible: dozens of paragraphs for a single shot. This wasn’t a one-line “make a Christmas ad” job.
That explainer reinforces your Forbes point — this could be as much about corporate signaling as marketing. Personally, I see it more as a brand experiment than a corporate ad, but I can see both perspectives.
And yes, some critics are inevitably Coke detractors. One UK designer, Dino Berberich, posted screenshots showing technical errors — missing truck wheels, misaligned shots, and so on. Maybe Coke fixed those later, maybe not. But if they take that kind of feedback seriously, it’ll be invaluable.
Overall, I think it’s what you’d expect from Coke. Set aside the fact that it’s AI — it’s actually quite good. It continues the “Real Magic” theme they’ve been running for years. I remember one a couple of years ago with paintings in an art gallery coming to life when they got a Coke — also beautifully done.
So this feels like the next step in their evolution. Most viewers won’t realize it’s AI unless they’re already thinking that way. Awareness is growing, but the average person just sees a nice Christmas ad.
Of course, we’re now in a world where people start by asking, “Is this AI?” before saying, “Wow, what a great image.” That mindset can distract from the story — but it’s part of the landscape now. This kind of work will only get better, and Coke is helping to move it forward.
Shel Holtz:
Yeah, I agree. And if you look at Berberich’s LinkedIn post, you can see the issues he points out, but that’s not how most people watch ads. They’re not stopping every frame to analyze wheel placement. They’re watching during a football game or between shows. Most people just see a Coke commercial with some fuzzy bunnies.
One critique I read said the ad couldn’t decide whether it wanted cartoony or semi-realistic animals. I didn’t notice that. If you go in looking to criticize AI, sure, you’ll find something. But again, that’s not most people.
The YouTube comments are full of people saying things like “I’ve never wanted a Pepsi more in my life.” But honestly, nobody’s switching brands because of an ad like this. People drink Coke or Pepsi based on taste, not commercials.
As for Forbes’s point about corporate signaling — I don’t think this was meant as a corporate ad, but rather a way to say, “We’re embracing AI.” And the fact that they released a behind-the-scenes explainer reinforces that. They’re telling the world they’re leaning into this technology, iterating, and getting better at it.
You know, I don’t remember this kind of backlash when animation shifted from hand-drawn to CGI. That shift also displaced artists — the inkers and colorists who worked on traditional cells. This feels like a similar transition.
You still have people giving thought to story, design, and imagery — but the tools have changed. Does it have the same soul as a Pixar film? No. But then, Pixar doesn’t have the same soul as early Disney animation either. Time marches on. Deal with it.
Neville Hobson:
Exactly. And a lot of the negativity is just the nature of online discourse these days. Anything posted publicly attracts critics, trolls, and nitpickers. Among them, there are some valid points, but it’s hard to find them amid the noise.
The explainer video also includes a section showing how Coke evolved its Christmas ads — from sketches to animation to AI-rendered realism. It’s fascinating to see how deliberate that process was. Again, Coke released this publicly, which supports your point: this is about transparency and experimentation.
So yes, critics have a right to their opinions, and some make constructive points. But for most people — what we’d call “Joe Bloggs” here in the UK — it’s just a nice Christmas ad. They’re not thinking about AI strategy.
From real trucks to AI ones, Coke is pushing creative boundaries. Some say they should’ve shot it live and hired more people, but there’s no crime in trying something new. They’re pushing the envelope, and I think they’ve done a pretty good job.
Shel Holtz:
And to reiterate: they did employ people. Two studios, probably dozens of professionals. I doubt they saved much money doing it this way. They’re just moving forward with the technology — and that’s the point.
And that will be a 30 for this episode of For Immediate Release.
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