This crop of Super Bowl ads isn’t subtle—it’s loud, star-studded, and built to feel like mini-events rather than “commercials.” The shared spirit is commitment: brands take one simple idea, crank it to absurd theater, and let the joke do the explaining. A lot of them lean on comfort-food nostalgia—songs, sitcom energy, familiar faces—because the fastest way to win on this stage is instant recognition. The best ones also sneak in a clean consumer truth under the spectacle, so you remember the benefit, not just the bit. Overall, it’s Super Bowl advertising doing what it does best: big swings, clean hooks, and pop-culture volume engineered for Monday-morning replay.
Best ads of Super Bowl 60 (2026)
I’ll be updating this list throughout the game.
Bosch’s Super Bowl 60 ad takes a buzzer to Guy Fieri’s iconic bleach-blonde haircut
Guy Fieri shows up as “Just a Guy”—brown hair, clean shave, zero swagger—until a Bosch appliance or power tool hits his hands and the full Flavortown persona snaps back on. The bit keeps firing in everyday scenes—sad sandwiches, job-site uncertainty—because the brand promise is simple: Bosch turns “regular” into confident on contact.
Backstreet Boys, Druski want it T-Mobile’s way, punk MGK in Super Bowl 60 ad for cell provider
T-Mobile turns its Times Square store into a surprise mini-concert, then drops the hook like it’s 1999 again. Backstreet Boys runs “I Want It That Way” with rewritten lyrics that hammer “best network / best value / perks” in big, clean neon. Druski plays the superfan pressure valve, getting absurdly emotional as the store turns into a singalong set.
Then Machine Gun Kelly pops in as the late tag, and the joke lands because the reception is deliberately awkward and self-aware. The whole thing is nostalgia used as a battering ram: stop accepting “just service” and come to the carrier that says it’s “better over here.”
Legendary duo Emma Stone, Yorgos Lanthimos get cinematic in Squarespace’s Super Bowl 60 ad
Squarespace lets the Lanthimos–Stone machine cook in crisp black-and-white, as she hunts for emmastone.com with the urgency of a missing passport. Every attempt snaps back “Unavailable,” and the panic escalates into gleeful destruction—keyboards, screens, and composure all catching stray blows.
It plays like a micro-noir horror short about digital ownership, where a single tiny URL becomes the whole world and Super Bowl LX turns it into a scream you can’t ignore.
Ben Affleck, Tom Brady, Jennifer Aniston, and Ted Danson star alongside stellar ensemble in secret 1995 Good Will Hunting audition tape for Dunkin’s Super Bowl 60 ad
Dunkin’ goes full VHS rewind with Good Will Dunkin’, a laugh-track “lost” 1995 pilot that reimagines Good Will Hunting as a Boston workplace sitcom. Ben Affleck plays Will as a Dunkin’ counter guy scribbling equations between orders—then flexes by arranging donut holes into a Fibonacci sequence that makes manager Jason Alexander think he’s found a once-in-a-generation brain. Matt LeBlanc fires off the defining roast—“If he’s such a genius, then why’d he put ice in his coffee?”—while the whole ensemble cycles through knowing ’90s TV winks.
Jasmine Guy drops the “marry me if you can explain Fibonacci” bait, and the store turns into a stampede of sitcom bravado from Alfonso Ribeiro and Jaleel White. Then Jennifer Aniston shows up at the window with “The Rachel,” drags in a long-haired Tom Brady, and flips “How do you like them apples?” into a Dunkin’ punchline before the cast shrugs and the title sing-song seals it.
