The One Show
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Category
Editing / Single
Annual ID
OS25_MI019S
Background
The Paralympics is the 3rd biggest sporting event in the world, but shockingly
60% of viewers still watch to see athletes “overcoming disabilities” – a
problematic & patronising attitude.
We created a campaign that pulled no punches, showing how Paralympians
face the same brutal forces as any elite athlete but it also called out the
audience on their at times condescending view of para-sport.
The visceral & unexpected approach across all media cut through the usual
sport ad tropes so that our message stayed with the audience.ensuring
Channel 4’s Paralympic Games coverage got 19.1 million viewers across
linear and streaming.
60% of viewers still watch to see athletes “overcoming disabilities” – a
problematic & patronising attitude.
We created a campaign that pulled no punches, showing how Paralympians
face the same brutal forces as any elite athlete but it also called out the
audience on their at times condescending view of para-sport.
The visceral & unexpected approach across all media cut through the usual
sport ad tropes so that our message stayed with the audience.ensuring
Channel 4’s Paralympic Games coverage got 19.1 million viewers across
linear and streaming.
Creative Idea
We created a campaign that pulled no punches, showing how Paralympians
face the same brutal forces as any elite athlete but it also called out the
audience on their at times condescending view of para-sport.
face the same brutal forces as any elite athlete but it also called out the
audience on their at times condescending view of para-sport.
Insights & Strategy
Channel 4 has broadcast the Paralympic Games since 2012, supporting its
coverage with campaigns that made people reappraise how they view
disabled athletes and disability.
But despite the Paralympics being the 3rd biggest elite sporting event on the
planet in the run up to Paris 2024 Paralympic games, research told us nearly
60% of people still don’t watch it for the elite sporting event it is.
Instead they watch it to see athletes “overcoming their disabilities”.
Patronising much? Yes, just a bit.
To Paralympians and the wider disabled community it was becoming a
problematic and patronising attitude, with some Paralympians even referring
to it as “well meant bullshit”.
To smash these ableist attitudes, we needed to communicate just how
patronising and misplaced these comments about Paralympic sport are.
We created a frenetic and powerful film that showed how the brutal
uncompromising forces of sport don’t change for anyone. We showed what
Paralympians ACTUALLY have to overcome to reach sporting greatness – it’s
not their disability, it’s the same forces any athlete must defeat –gravity,
friction and time. We highlighted the contrast between how objectively these
forces see the athletes, versus how people at home do. Posing an interesting
question an important question – if the forces of sport don’t care about disability,
than why do those who watch?
the film had it’s desired impact on viewers at the start of the games the top
trending topics during the opening ceremony were “excited to watch” and
“talented athletes” and by the end 79% thought the Paralympics as exciting
as the Olympics.
coverage with campaigns that made people reappraise how they view
disabled athletes and disability.
But despite the Paralympics being the 3rd biggest elite sporting event on the
planet in the run up to Paris 2024 Paralympic games, research told us nearly
60% of people still don’t watch it for the elite sporting event it is.
Instead they watch it to see athletes “overcoming their disabilities”.
Patronising much? Yes, just a bit.
To Paralympians and the wider disabled community it was becoming a
problematic and patronising attitude, with some Paralympians even referring
to it as “well meant bullshit”.
To smash these ableist attitudes, we needed to communicate just how
patronising and misplaced these comments about Paralympic sport are.
We created a frenetic and powerful film that showed how the brutal
uncompromising forces of sport don’t change for anyone. We showed what
Paralympians ACTUALLY have to overcome to reach sporting greatness – it’s
not their disability, it’s the same forces any athlete must defeat –gravity,
friction and time. We highlighted the contrast between how objectively these
forces see the athletes, versus how people at home do. Posing an interesting
question an important question – if the forces of sport don’t care about disability,
than why do those who watch?
the film had it’s desired impact on viewers at the start of the games the top
trending topics during the opening ceremony were “excited to watch” and
“talented athletes” and by the end 79% thought the Paralympics as exciting
as the Olympics.
Execution
Every part of our paralympic film had to work to tell the story. Our vision was to
create a series of visual worlds to represent the sporting forces of Gravity, Time,
Friction e.t.c. and show the the struggles and the elemental forces that don’t
change for any sportsperson to make our point that sport doesn’t change for
Paralympians. We painstakingly blended different visual techniques from huge
upside down sets to on board bike cameras to make a cohesive piece to make the
film and more importantly its message unignorable. The unrelenting visuals and edit
were crafted to not give the viewer a break and to stay with them. Ensuring our
important message was heard.
create a series of visual worlds to represent the sporting forces of Gravity, Time,
Friction e.t.c. and show the the struggles and the elemental forces that don’t
change for any sportsperson to make our point that sport doesn’t change for
Paralympians. We painstakingly blended different visual techniques from huge
upside down sets to on board bike cameras to make a cohesive piece to make the
film and more importantly its message unignorable. The unrelenting visuals and edit
were crafted to not give the viewer a break and to stay with them. Ensuring our
important message was heard.
Results
The film got plaudits
from the disabled community as well as 6 million watching the opening ceremony,
the most since London 2012.
from the disabled community as well as 6 million watching the opening ceremony,
the most since London 2012.
2025 Awards
Total Points: 21
Silver Pencil
Credits
Brand-Side / In-House Agency
4creative / London
Production Company
Biscuit Filmworks
Revolver
Director
Steve Rogers
Director of Photography
Daniel Landin
Editor
Rich Orrick
Executive Creative Director
Lynsey Atkin
Producer
Simon Eakhurst
Executive Producer
Fiona Wright
Managing Director / Executive Producer
Rupert Reynolds-MacLean
Senior Producer
Lauren Holden
Creatives
Andy Vasey
Dan Warner
Founding Partner
Shawn Lacy
Head of Production
Emily Atterton
Production Designer
John Henson
Production Manager
Luke Thornton
VFX Supervisor
Sheldon Gardner
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