Publicis Production’s unified global ecosystem comes alive in the Chips Ahoy–Stranger Things campaign, produced across New York, London, and Bogota. Through PoP Studios’ partnership with Mondelēz International, the project demonstrates how seamlessly interconnected teams can deliver large-scale, culturally resonant content, redefining the future of global creative production.
Publicis Production’s evolution into a single, borderless ecosystem has become one of the most intriguing transformations unfolding within the global advertising and content industry today. At a time when brands are being asked to do more with less—produce faster, think bigger, and deliver across more markets than ever before—its integrated model offers a glimpse into a future where creative ambition and production scale no longer sit on opposite ends of the table. Instead, they move as one. Publicis Production positions itself as that unifying force: a connective tissue across continents, disciplines, and specialist teams, allowing ideas to travel farther and take shape more efficiently. In that seamless network, PoP Studios stands as a central engine, a production partner designed to support global brands that require consistency, creativity, and high-volume output across markets. Among its collaborations, few illustrate this model more vividly than its partnership with Mondelēz International, one of the world’s biggest snacking powerhouses and a brand group that thrives on cultural relevance.
Mondelēz has long recognized that content is no longer a siloed activity but a continuous flow—a living system that requires precision, speed, and global fluency. To serve that vision, PoP Studios, powered entirely by Publicis Production, operates as the company’s true global production partner. It works across creative agencies and markets through a structure known as the PoP 30 Global/Po1 Team. This cohesive model brings a fluidity that matches Mondelēz’s vast brand universe, from biscuits and chocolates to snacks and treats, each demanding content that is locally resonant yet globally consistent. With an ecosystem capable of functioning across time zones and languages, Publicis Production becomes not merely a supplier of production services but an orchestrator of creative harmony.
The scale and sophistication of this approach can be best understood through one standout example: the Chips Ahoy–Stranger Things collaboration, a project that swiftly became an emblem of what happens when global production works in sync. It was more than a campaign; it was a test of how fast and how elegantly a global idea could move through creative, cultural, and production layers while maintaining craft, narrative clarity, and brand relevance. For Publicis Production, this project became a way to demonstrate not just versatility but the power of a networked system where geography is simply a creative advantage—not a barrier.
The production journey of the campaign reads almost like a creative relay conducted across three continents. It began in the United States, where PXP New York, the production arm of Publicis, took the lead in orchestrating the entire execution. As the first stop in the chain, PXP New York set the project’s narrative direction, structure, and production blueprint. By the time the baton was passed to the next team, the creative foundation was already airtight.
From there, the project moved across the Atlantic to London, where Prodigious London—a core part of the Publicis Production network—took charge of the live-action shoot. London was chosen not only for its world-class production infrastructure but also for its ability to recreate the aesthetic sensibilities that the Stranger Things universe demanded. The city’s production crews, known for their agility and cinematic discipline, helped capture scenes infused with the show’s distinctive atmosphere: a blend of 1980s nostalgia, subtle eeriness, and visual wit. Chips Ahoy, a brand rooted in fun and youthful energy, found a natural creative rhythm when paired with Stranger Things’ signature stylistic motifs. The London shoot became the point where these two worlds collided—where brand storytelling began to merge with television culture, creating a hybrid universe crafted with precision.
After filming wrapped, the next chapter unfolded in South America. The footage traveled thousands of miles to Bogota, Colombia, where PXP’s post-production team stepped in. This choice was strategic: PXP Bogota has emerged as one of the most dynamic post-production hubs within the Publicis network, known for its robust technical expertise and ability to handle fast-turnaround global projects. The team in Bogota brought the raw footage to life through editing, color treatment, visual effects, and sound design, adding creative depth and energy to the final product. The Stranger Things aesthetic required careful calibration, and Bogota’s artists delivered it with nuance—balancing the series’ darker tones with the playful charm of Chips Ahoy.
The final output of this three-continent operation was not just a polished campaign—it was a proof point. It showed how Publicis Production’s interlinked systems allow for a new kind of creative agility, where talent and resources can be deployed globally without friction. The Chips Ahoy–Stranger Things project served as a vivid demonstration of the organization’s ambition: to make the world feel smaller for brands while expanding the possibilities of what content can achieve.
For Publicis Production, this is not a one-off accomplishment but the daily reality of how its teams operate. Collaboration is not an aspiration but a built-in function. Creative ideas are not confined to the geography in which they originate. Instead, the entire network becomes a shared creative space, enabling rapid transfer of skills, assets, and expertise. The world, in effect, becomes a single studio.
This model is particularly powerful in an era where brands like Mondelēz must communicate across diverse cultural landscapes. Consumers in the U.S., Europe, Asia, Latin America, and the Middle East all experience content differently, yet global brands must maintain coherent storytelling. Publicis Production’s structure allows campaigns to adapt without losing their core identity. It turns complexity into clarity, making room for both global efficiency and local authenticity.
The success of projects like Chips Ahoy–Stranger Things also signals a broader shift in how production ecosystems are evolving. The days of linear workflows—where preproduction, production, and post-production unfold neatly and sequentially in one location—are fading. Today’s production landscape resembles an intricate web, where parallel processes occur across continents and teams contribute simultaneously. Publicis Production does not just adapt to that shift; it builds infrastructure around it, embracing the idea that creativity grows when liberated from geographic boundaries.
As clients increasingly seek partners who can streamline their operations without diluting creative ambition, Publicis Production’s model becomes a compelling answer. It offers a world where efficiency does not come at the cost of artistry, where scale is not the enemy of imagination, and where global teams work as extensions of one another. The Chips Ahoy–Stranger Things campaign remains a standout example, but it is also part of a larger story: the rise of a seamlessly connected production world where ideas move freely, talent works collectively, and brands benefit from a global creative engine that never sleeps.
In that sense, Publicis Production is not just a network. It is an operating system for modern creativity—one that is continuously rewriting what global production can be.
