The One Show
The One Show is the world's most prestigious award show in advertising and design. For over 50 years, the Gold Pencil has been regarded as one of the top prizes in the creative industry. The One Show has a rich legacy of honoring some of the most groundbreaking ideas, created by some of the most remarkable minds in creativity.
Learn more about The One Show 2026
Category
Direction / Single
Annual ID
OS25_MI015S
Background
We were operating in a category that was trapped in an echo chamber. Everyone was talking about the functional benefits of food delivery: we can bring you any food you want, conveniently. We knew Uber Eats had to rise above this, and give people an emotional reason to choose us.
The problem? People see takeaways as a lazy indulgence, for weekends or hangovers. Something to reach for when you can’t be bothered to cook or go to the shop. And Uber Eats was suffering because of this association. We needed to get people to think differently about online food delivery and its role in their lives, and in doing so, grow the Uber Eats business and increase love for the brand.
The problem? People see takeaways as a lazy indulgence, for weekends or hangovers. Something to reach for when you can’t be bothered to cook or go to the shop. And Uber Eats was suffering because of this association. We needed to get people to think differently about online food delivery and its role in their lives, and in doing so, grow the Uber Eats business and increase love for the brand.
Creative Idea
In a world telling people they have to do more, more, more, Uber Eats would be the brand that tells you to stop and do less.
The campaign, called ‘When you've done enough, Uber Eats’ gives people license to order what they want effortlessly and enjoy a bit of downtime.
We wanted to show moments where people have done ‘enough’ of what’s expected of them, and confidently and comedically choose to enjoy some downtime instead, letting Uber Eats handle the food.
The campaign, called ‘When you've done enough, Uber Eats’ gives people license to order what they want effortlessly and enjoy a bit of downtime.
We wanted to show moments where people have done ‘enough’ of what’s expected of them, and confidently and comedically choose to enjoy some downtime instead, letting Uber Eats handle the food.
Insights & Strategy
The insight came from looking at our audiences: young professionals and young families. While on the surface these were two very different groups of people, we realized that they shared a mindset and an attitude. Both groups were united by the fact that they live in the ‘mad years’ of life. These are years where life moves at a hundred miles per hour, you’re always striving to reach the next milestone (find a partner, buy a house, start a family, get that promotion). And always, the pressure and expectation to do more, more, more. Visit the latest exhibitions, read the new ‘it’ book, smash the big meeting at work, get that DIY project done at home. There was cultural pressure to use every minute productively. But endless ‘to-do’ lists and pressures can get overwhelming.
We realized that it shouldn’t be so hard to live well. And instead, couldn’t we be the brand that give people permission to do less, and enjoy their hard-earned downtime?
We realized that it shouldn’t be so hard to live well. And instead, couldn’t we be the brand that give people permission to do less, and enjoy their hard-earned downtime?
Execution
Our goal was to dramatize moments where people feel like they’ve done enough of what’s constantly expected of them, and deserve a break. We parachute into what appears to be the middle of a classic film scene, starring Javier Bardem in his next iconic evil role. He and his generals sit at a menacing boardroom table in his lair, discussing the next steps for world domination (for what must be the millionth time). But when Bardem decides he's had enough of evil-ing for the day, he knows exactly what he wants: a little downtime, provided by sushi ordered on Uber Eats.
Production design and sound design were critical in creating a believable cinematic landscape, which helped make the order moment an unexpected and surprising comedic beat. The power dynamic between Javier and his evil axis was crucial in establishing Javier as an intimidating evil force, which he is expected to be playing, time and time again. And, once his evil character is established, it paves the way for the comedic twist when he walks away from the constant expectations to be evil in favor of ordering Uber Eats. For the misdirect to work, we needed people to think they’re watching a $200 million tentpole movie. All of our choices, everything from production design and sound design, to wardrobe and VFX, were in service of it. The bottom third of the cavernous evil meeting room was practical. Everything above it was matte painting and CGI. The hallway Javier Bardem and his minions walk through as well as his “man cave” were all practical. It was a massive undertaking and required two weeks of set building. We did a fair amount of improvisation with our cast. We shot with multiple cameras so every time we tried something, it was in the can.
Production design and sound design were critical in creating a believable cinematic landscape, which helped make the order moment an unexpected and surprising comedic beat. The power dynamic between Javier and his evil axis was crucial in establishing Javier as an intimidating evil force, which he is expected to be playing, time and time again. And, once his evil character is established, it paves the way for the comedic twist when he walks away from the constant expectations to be evil in favor of ordering Uber Eats. For the misdirect to work, we needed people to think they’re watching a $200 million tentpole movie. All of our choices, everything from production design and sound design, to wardrobe and VFX, were in service of it. The bottom third of the cavernous evil meeting room was practical. Everything above it was matte painting and CGI. The hallway Javier Bardem and his minions walk through as well as his “man cave” were all practical. It was a massive undertaking and required two weeks of set building. We did a fair amount of improvisation with our cast. We shot with multiple cameras so every time we tried something, it was in the can.
Results
New campaign - awaiting results
2025 Awards
Total Points: 21
Silver Pencil
Credits
Agency
Mother / London
Media Agency
EssenceMediacom
Client / Brand
Uber Eats / London
Production Company
O Positive / Santa Monica
Composer
Phil Kay
Director
David Shane
Director of Photography
Sebastian Blenkov
Editor
Paul Watts
Executive Producer
Marc Grill
Ralph Laucella
Post Executive Producer
Josh Robinson
Colourist
Simone Grattarola
Costume Stylist
Verity Hawkes
Creative & Strategy
Mother / London
Edit Executive Producer
Tor Adams
Edit Producer
Dilia Knobel
Executive Producer/Producer
Nell Jordan
Music Supervisor (Happy Days)
John Connon
Music Supervisor (Score)
Andy Oskwarek
Post Producer
Chris Aliano
Production Designer
Andy Kelly
Production Manager
Polly Leach
Sound engineer
Sam Robson
Sound Producer
Karen Noden
VFX Supervisor & Lead
Miguel Wratten
Related Awards
