GOOD OMENS

Good Omens marketing creative had been in development for over a year with no creative consensus. I was brought in to solve the creative problem. My approach was the same as always, translate the strategy into a clear creative direction, then build a campaign the audience deserves and the team can be proud of.

For Good Omens that meant honoring a fanbase who had waited nearly 30 years to see this world realized on screen. The concept came to me one morning all at once, every layer of the mythology packed into a single image. Something superfans would immediately recognize and new audiences could feel the weight of. My concept sketch aligned the team instantly and tested #1 across US, UK, and DE markets. But the bigger impact was what it unlocked. Concepts that had been competing for months suddenly found their place, each one a different facet of the same world rather than a separate idea fighting to be the campaign.

Once that foundation existed, my job was to make sure nothing drifted from it, directing agencies through key art development, conceiving the character poster suite where each character is introduced through prophecies drawn from the source material, and holding the creative bar across every partner and touchpoint in a 360° global rollout.