Like many people, I spent New Year’s Day glued to the final episodes of Stranger Things, debating with my children and colleagues whether the ending justified nearly a decade of emotional investment. I thought it did. What mattered most, however, was the collective reaction. Even those who haven’t watched are talking about it. The series has become a shared cultural moment.
Reflecting on my three years at Alight, and my immersion in the world of Digital Out-of-Home (DOOH), it’s striking how often these moments have shaped conversations with both customers and colleagues. In my digital media days, we called them “tent poles”: the landmark occasions that unite generations, command mass attention and give structure to the year. They come in many forms, from sporting triumphs such as England’s Women’s Euros and Rugby World Cup victories, to moments of national reflection following the Queen’s passing, and to blockbuster entertainment events that dominate the cultural agenda.
Who can forget the buzz around ‘Barbenheimer’, the anticipation surrounding Adolescence, the Gavin & Stacey finale, Joe Marler’s appearance on The Traitors, Keira Knightley’s Christmas romance with Joe Wilkinson, or last year’s Oasis tour? These were the stories that framed the year and fuelled the national conversation.
In a world of unprecedented media choice, these shared moments represent powerful opportunities for brands. One clear thread running through them is the growing role of DOOH. From Liam Gallagher’s partnership with Berghaus to the BBC’s Gavin & Stacey execution at Leigh Delamere services; from Waitrose’s ‘Piemax’ takeover and Linda, from the Traitors on a huge billboard in Leicester Square to the now-iconic pink D48s, DOOH has been omnipresent.
Its significance extends well beyond advertising. During Operation London Bridge, following the death of the Queen, DOOH played a critical public role proving that it doesn’t just reflect the national mood; DOOH helps shape it.
