Is Coke’s Use of AI in Its New Christmas Ad a Little Too Uncanny?

BY Emily McCrary-Ruiz-Esparza | December 09, 2024

Coca-Cola’s latest Christmas ad is earning headlines and parodies, but it’s making many consumers uneasy. The 2024 “Holidays Are Coming” ad reimagines Coke’s classic commercial from 1995: Semi-trucks trimmed with lights, bearing the Coca-Cola logo and a likeness of a cheerful Santa Claus roll through a quaint town as trees, bridges, and houses are instantaneously illuminated. 

The script of this year’s ad is largely the same as the original’s, but the people look a little too airbrushed; their eyes twitch; their hands are a little wonky. Spotlights in the forest come from nowhere, and the wheels on the trucks don’t turn–because the ad was generated using artificial intelligence.

The ad has produced discomfort among many viewers, anger in some, and it spawned a meme. YouTube users have posted manipulated versions styled up like horror movies and folks on social media were quick to air their disgust. Zevia, which makes zero-sugar sodas, spoofed the ad and used the opportunity to position itself as “something real” to Coke’s something strange. The tagline for Zevia’s spot: “Delicious, not suspicious.”

Some brands may be able to get away with an AI-generated ad, but not Coke, says Sara Hanson, an associate professor of marketing at the University of Richmond who conducts research on AI in advertising. “Coke, as a brand, is a sincere, classic, traditional, trustworthy, Americana-type brand,” said Hanson. “It’s really like thumbing their nose at the way that people perceive them.”

Hanson’s research has found that while consumers are generally open to AI-generated ads, they are sensitive to messaging and are more likely to accept AI-generated ads that use rational or logical appeals than ones that use an emotional appeal.

Some controversy around AI-generated art stems from the fact that AI is seen as a threat to jobs and creative livelihoods. This fear isn’t limited to AI. This summer, Apple released a commercial, called Crush!, that featured a massive hydraulic press flattening paint cans, musical instruments, records, a bust sculpture, and cameras–all symbols of human creativity–into a single iPad. It’s not clear whether the message is that the new iPad Pro will make you more efficient, or destroy creativity. The ad was so poorly received that the company issued an apology. “Apple misread the room,” Variety reported.

It isn’t possible to tap a button and generate a TV spot, at least not yet. Ads like these still require vast amounts of human effort. It took 17 artists three weeks to create Coca-Cola’s ad, according to a behind-the-scenes account by Secret Level, the agency that worked on the campaign.

Still, the line between human work and computer work hasn’t been firmly drawn. Secret Level said it cast real people as models for the AI-generated faces. But that raises the question: Why not use those people in the ad?

It’s cheaper, it’s faster, but “a big brand like Coke that has the money, has the time, has the resources, and has the brand that should really be supporting art,” Hanson said. “It just doesn’t feel authentic to the brand or really authentic to what marketing is.”

“Innovative brands can do lots of new, interesting, ground-breaking things. But these traditional, classic, sincere brands—people are less likely to forgive them when they make a mistake,” she explained. Eventually, AI-generated advertising will be so sleek that it’s impossible to identify. But for now, people are fearful about tech that seems ready to replace jobs, alter reality, or deceive our senses.

In 1995, the commercial’s tagline was “Always.” In 2024, the company touts “Real Magic.” “It links to the politics of what’s going on right now,” said Hanson. “How important is authenticity and truth in our world at this moment?” Coca-Cola said it wanted to reimagine the classic commercial for today. But instead of invoking nostalgia, it hit a nerve. 

Emily McCrary-Ruiz-Esparza is a freelance journalist and From Day One contributing editor who writes about work, the job market, and women’s experiences in the workplace. Her work has appeared in the Economist, the BBC, The Washington Post, Quartz, Business Insider, Fast Company, and Digiday’s Worklife.