The Lions are Having a Laugh

As the Cannes Lions Festival, the illustrious summit of recognition of the advertising world, commemorated its 70th anniversary, it unveiled a contentious new category for its 2024 awards - humour. This addition, ostensibly a nod to the timeless art of comedy in branding, provokes a deeper inquiry: Is this a genuine celebration of wit or a cynical ploy to boost revenue through heightened entry submissions?

In recent years Cannes Lions' juries have gravitated towards emotionally charged, purpose-driven campaigns. This trend, however, took an abrupt turn at this year's festival, with more than half of the Film Lions winners employing humour. While this shift may reflect a societal yearning for light-hearted content in challenging times, it's hard to overlook the underlying economics. Does the introduction of a dedicated humour category reflect an authentic change in creative direction, or is it a strategic move to diversify revenue streams, especially against the backdrop of exorbitant entry fees ranging from €800 to €1000? The timing and reasoning behind this category's inception come after Ascential, the owner of the festival, reported that entries were up 6% and awards revenue was up 11% this year.

The staggering cost of participation at Cannes Lions has long been a topic of debate. By introducing a humour category, the festival risks exacerbating the perception of being an elitist gathering, accessible only to agencies with deep pockets. This exclusivity runs counter to the spirit of creative egalitarianism, effectively sidelining smaller, independent agencies with limited budgets. Is Cannes Lions championing creativity, or is it inadvertently creating a 'Rich Kid’s Club', favouring wealth over ingenuity?

The introduction of a humour category further muddies the waters with its inherent cultural subjectivity. Humour varies vastly across cultures; what is considered hilarious in one might be perceived as insipid or even offensive in another. This raises critical questions about the judging criteria and potential Western bias in a category so deeply rooted in cultural nuances. Is the Cannes Lions prepared to navigate this complex cultural labyrinth, or will it inadvertently lean towards a narrow, Western-centric interpretation of humour? Who is the arbiter of funny, here?

Our clients already raise an eyebrow at the need for this industry to be recognised so much as you congratulate each other on the French Riviera - to now award humour really feels like we are taking the piss.

Beyond the financial cynicism and cultural concerns, the bigger issue that that the Festival is missing an opportunity to address more impactful categories.

In light of pressing global challenges, the decision to spotlight humour is a missed opportunity. If Cannes Lions simply must add a category, why not introduce one that resonates more profoundly with our current societal and technological advancements, such as Diversity, Equity, & Inclusion, sustainability, GAI or blockchain and NFTs? Such categories could serve as platforms for showcasing groundbreaking ideas that push the boundaries of creativity and address critical global issues.

The Cannes Lions' decision to introduce a humour category raises more questions than it answers. While humour is undeniably a vital component of advertising, its elevation to a standalone category seems less about celebrating creativity and more about bolstering the festival's financial health. It's imperative that industry leaders and participants question the motivations behind such decisions and advocate for a festival that truly represents the breadth and depth of creative thought.

As we scrutinise this development, let's demand a Cannes Lions that values diversity, inclusivity, and innovation over profit. The advertising world deserves an awards platform that not only entertains but also challenges and inspires.

We must engage in a critical dialogue about the direction Cannes Lions is taking. Share your views on the new humour category. Is it an authentic celebration of creativity, or a strategic manoeuvre masked as innovation?

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