Google is back on top in one of the most-watched postgame scorecards in marketing.

The Kellogg School of Management announced that Google Gemini earned the No. 1 ranking in the 22nd Kellogg School Super Bowl Advertising Review, thanks to its emotional “New Home” spot—an ad built around the idea that AI can support life transitions through creativity and human connection. Kellogg says this marks the fourth time Google has taken the top spot in the panel’s rankings.

Not every advertiser had a good night. Kellogg’s review also called out Coinbase and ai.com for low grades, with panelists criticizing unclear brand linkage and fuzzy value propositions.

Why Google’s “New Home” ad won

According to Kellogg, Google’s top-ranked spot stood out for balancing two things that are hard to pull off in a Super Bowl window:

• Emotional storytelling that feels human
• A clear demonstration of product value

“This ad captures what Google has historically done best: pairing genuine emotional storytelling with a clear illustration of how the product fits naturally into people’s lives,” said Tim Calkins, clinical professor of marketing and co-lead of the Kellogg School Super Bowl Advertising Review. Co-lead Derek Rucker added that it feels like a modern evolution of that approach rather than a departure.

The review also notes the ad echoed the spirit of Google’s iconic “Parisian Love” spot from 2009—offering a nostalgic reminder of what has long defined the brand while updating it for a new era of AI-powered tools.

Other top performers (and why they landed)

Kellogg’s panel also gave strong marks to:

• Anthropic’s Claude for “Can I get a six pack quickly?”
• Novartis for “Relax Your Tight End”

Rucker highlighted Anthropic’s advantage in a crowded AI category: the message was simple and clearly differentiated, which made it easier for viewers to understand what the brand is and why it matters.

The ads that fumbled: Coinbase and ai.com

On the other side of the rankings were ads that grabbed attention but didn’t connect the dots.

Kellogg said Coinbase aired a spot built around a karaoke-style use of a Backstreet Boys song, but the creative failed to establish a clear connection to the brand or its value proposition, resulting in a low rating from the panel.

ai.com also received a low grade, with panelists left unclear on what the product actually offered. “When you’re advertising new technologies, there’s a lot to learn from classic brand building,” Calkins said, adding that ai.com is a good example of what can go wrong when viewers are still wondering what the product is after the ad ends.

The bigger trend: AI wasn’t just a theme—it was the stage

Kellogg’s review makes it clear that artificial intelligence dominated Super Bowl advertising in 2026, both as a subject of brand storytelling and as a creative tool.

Brands including Microsoft, Amazon, and Genspark used the Super Bowl stage to define how their technologies fit into everyday life, ranging from emotional narratives to more functional demonstrations of performance and productivity. Meta returned with two spots highlighting its AI-powered eyewear, emphasizing the product’s “athletic intelligence.”

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AI also played a role behind the scenes: Svedka said its spot featuring dancing robots was primarily created using AI.

Celebrity + nostalgia still work—if the brand is clear

As has become tradition, celebrity power was on full display, with brands stacking household names to break through the clutter. Kellogg also noted that nostalgia continued to be a reliable creative lever, with several brands tapping into 1990s pop culture to connect with millennial audiences.

“Many advertisers appeared to be playing it safe this year. Nostalgia and well-liked celebrities are two of the most reliable ways to do that,” Calkins said. The catch: familiar faces and throwback references can be a shortcut to attention, but they still need to be paired with a clear brand message to be truly effective.

Health advertising surged (including GLP-1 debuts)

Another shift Kellogg highlighted: a remarkable number of health-focused Super Bowl spots, covering everything from hydration and fiber intake to caffeine consumption and access to care.

Weight-loss medications were especially prominent, with Novo Nordisk (Wegovy), Ro, and Eli Lilly (Zepbound) all spotlighting their GLP-1 offerings. Rucker said Super Bowl ads have to entertain and educate at the same time—and he credited Novartis with striking that balance particularly well.

How Kellogg grades the ads: ADPLAN

The Kellogg School Super Bowl Advertising Review uses an academic framework known as ADPLAN to evaluate the strategic effectiveness of Super Bowl spots. The acronym helps viewers grade ads based on:

• Attention
• Distinction
• Positioning
• Linkage
• Amplification
• Net Equity

A full list of the rankings is available through Kellogg. To learn more, visit https://www.kellogg.northwestern.edu/news-events/super-bowl.aspx.

Source: PRNewswire

Bess Rowen, Villanova University

Most theater subscriptions offer a patron access to a single theater’s season. But Philadelphia’s new Citywide James Ijames Pass provides tickets to three James Ijames – pronounced EYE-ms, rhymes with “chimes” – plays at three theaters in Philadelphia. Subscribers will also get one mustard-colored beanie, one of Ijames’ signature accessories.

The full pass, which costs US$130, includes tickets for the Arden Theatre’s “Good Bones,” which premiered Jan. 22 and runs through March 22, the Wilma Theater’s “The Most Spectacularly Lamentable Trial of Miz Martha Washington,” which runs March 17 to April 5, and the Philadelphia Theatre Company’s “Wilderness Generation,” a world premiere that runs April 10 to May 3. There is also a two-show pass for $90 without “Good Bones.”

I’m a theater theorist, historian and practitioner who has written about Ijames’ work before and after his 2022 Pulitzer Prize. I believe this landmark collaboration between three important Philadelphia theaters is a fitting celebration of a multi-hyphenate theater artist who continues to champion his longtime artistic home.

Actor, playwright, director

Ijames, 46, was born in North Carolina and attended Morehouse College in Atlanta, Georgia. He earned his Master of Fine Arts degree at Temple University and stayed in Philadelphia after graduating.

Notably, this playwright’s MFA is in the study of acting. Ijames is also a talented director, and he performed and directed at multiple theaters around Philadelphia before starting to work as a playwright. He was also a tenured professor of theater at Villanova University, where I had the privilege to work with him and watch his creative process before he moved to New York City in 2025 to run the playwriting concentration at Columbia University.

Ijames was already a local celebrity in Philly before winning the Pulitzer Prize for drama for “Fat Ham,” his Hamlet adaptation centered on a queer Black Hamlet named Juicy and the legacy of his father’s barbecue joint. The New York theater scene took notice of him when the National Black Theatre staged “Kill Move Paradise” in 2017. This haunting piece is set in limbo, where unarmed Black men who have been killed by police examine how they have come to this place and how society continues to enable this pattern.

Other Ijames plays include “White,” a satire of the art world that tells the story of a gay white male artist who hires a Black woman actor to pretend to have done his work to see if that makes a difference in how his art is viewed. “TJ Loves Sally 4Ever” sets Thomas Jefferson and Sally Hemings’ relationship on a college campus where “TJ” is a dean and Sally is a student. And “Reverie” is a chamber play, which is an intimate meditation with an earnest and somber tone. In it, the father of a recently deceased Black gay man comes to meet the man he believed was his son’s partner.

Most recently, in 2025, Ijames partnered with the Australian pop singer Sia on a musical called “Saturday Church.” It is a story about reconciling queer community and Christian faith, and relying on the support of family, both biological and chosen.

Charting new dramatic territory

Although his theatrical styles and genres vary, at his core, Ijames writes nuanced, character-driven works that revolve around interpersonal relationships. His plays are playgrounds for performers, particularly due to his ability to write complex queer Black characters.

Influential American playwright Suzan-Lori Parks notes in her 1994 essay “Elements of Style” that the conflict between Black people and white people is the default trope of how Black people have been represented onstage – by almost exclusively white playwrights – for most of U.S. theater history. Parks posits that a way to avoid this centering of white conflict in Black lives comes from new dramatic territory that depicts conflicts between Black people and anything else.

Ijames never sets his Black characters in opposition to white society alone. He also refuses to take up the tropes of LGBTQ identity as incompatible with religion, or the idea that characters can be only gay or straight. Instead, Ijames creates narratives with queer religious people and pansexual men whose identities are not sources of conflict.

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The citywide pass

The plays in the citywide pass offer an exciting cross section of what makes Ijames’s work so vibrant.

“Good Bones” is the story of a now-affluent Black woman, Aisha, who moves back to her blue-collar hometown. Aisha might be from this working-class neighborhood, but her elaborate renovations and white-collar sensibilities make her return seem more like gentrification than homecoming, at least as far as her local contractor can see.

“Miz Martha” follows the titular Martha Washington through a fever-dream-inspired trial in her final moments, as enslaved people care for her while knowing her death means their freedom.

And “Wilderness Generation” follows five cousins reunited in the U.S. South after many years apart, ready to talk about the secrets from their pasts.

With theater’s ever-changing and unstable financial landscape, I believe the Citywide James Ijames Pass is an exciting new subscriber model. The collaboration highlights Philadelphia’s theatrical talent and banks on local theaters working together to build audiences instead of treating each other as competition – a new development that could change how regional theater scenes operate.

Bess Rowen, Assistant Professor of Theatre, Villanova University

This article is republished from The Conversation under a Creative Commons license. Read the original article.

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Last Updated on February 9, 2026 by Daily News Staff

Phoenix, AZ — Jurassic Quest, billed as North America’s largest traveling dinosaur experience, is set to return to Arizona with a limited engagement at the Arizona State Fairgrounds from February 6–8, 2026.

The family-friendly attraction features life-size animatronic dinosaurs, immersive walk-through exhibits, and hands-on activities designed to blend entertainment with education. Guests will encounter towering recreations of iconic species such as Tyrannosaurus rex and Spinosaurus, along with interactive fossil digs, dinosaur rides, inflatables, and meet-and-greet opportunities with baby dinosaurs.

Jurassic Quest has become a popular touring event across the United States, particularly among families with young children. The experience combines museum-style displays with high-energy attractions, allowing visitors to explore at their own pace. Most attendees spend one to two hours navigating the exhibit.

The event will take place at the Arizona State Fairgrounds, located at 1826 W. McDowell Road in Phoenix, with multiple daily sessions scheduled throughout the weekend.

Tickets and additional event details are available through the official Jurassic Quest website.

• Jurassic Quest Phoenix 2026 – Official Event Page
• Arizona State Fairgrounds – Venue Information
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