Jury Checkup - Brett O’Connor
As a mammoth judging week in Vegas draws to a close, we checked in with Pharma Juror Brett O’Connor, Global Chief Creative Officer at VCCP Health to get his take on this years work.
CR: What was the most challenging aspect of evaluating the diverse range of Pharma entries, and how did the jury navigate those complexities to reach consensus on the shortlists and winners?
BOC: As always, the Pharma category delivers an incredible variety of work, from beautifully crafted storytelling to powerful, purpose-driven ideas. At first, judging can feel quite instinctive: you simply respond to what moves you, what feels fresh or meaningful. But as the stronger ideas begin to rise to the top, that’s when the real discussion starts.
We compare, challenge, and re-evaluate, not just to reward the most polished pieces, but to ensure the final selection represents the full spectrum of creativity within Pharma. It’s a process of refinement, where we might upgrade or downgrade certain pieces to create a balanced showcase of innovation, craft, and impact across all disciplines. Ultimately, that’s what makes the jury process so rewarding, the shared passion for celebrating ideas that truly push the category forward.
CR: Beyond the obvious creative brilliance, what specific criteria or subtle nuances in the campaigns truly resonated with you personally, and perhaps surprised you, as you were judging?
BOC: For me, it always starts with the idea, that’s king. I’m constantly on the lookout for fresh thinking, for work that feels original yet deeply human. We live in a world of incredible technological capability, and some of the entries showcased that beautifully. But what really surprised and delighted me were the simpler ideas, the ones that didn’t rely on AI or cutting-edge tech, but instead used creativity to solve real-life problems in powerful, meaningful ways. Those are the ideas that stay with you long after judging ends.
CR: Were there any emerging trends or innovative approaches in pharmaceutical communication that particularly stood out to you this year, and do you believe these indicate a significant shift in how the industry is engaging with its audiences?
BOC: Innovation really sat at the heart of many entries this year. What stood out most was how technology was being used not just for the sake of it, but to make a genuine difference in people’s lives. Smartphones played a big role, from attachments that help recognise pain in patients unable to communicate, to creative tools that entertain children while helping them understand their conditions.
We also saw remarkable thinking in other areas, baby scanning devices designed to identify potential health issues early, and even illuminated pill box labels so patients can clearly see their medication in the dark, a small but powerful improvement for those managing multiple prescriptions.
What these examples show is a real shift, one where innovation and empathy are working hand in hand. The industry is clearly moving toward creating ideas that don’t just communicate, but truly care.
CR: As AI reshapes advertising, how does handmade craft become a strategic or philosophical asset, rather than just a stylistic one?
BOC: AI can be a shortcut for almost everything we do, and I’m all for using it to help sell in ideas or bring concepts to life more quickly. But the old art director in me still has a deep love for the handmade. There’s something incredibly powerful about seeing the skill, the patience, and the sheer human effort that goes into a crafted piece of work.
Maybe it’s a romantic view, but I believe that craft carries emotion, you can feel the hours, the intent, the imperfections that make it human. In a world where AI can make everything instant and perfect, that human touch becomes even more meaningful. It’s not just about style; it’s about soul.
CR: Considering the strict regulatory environment of Pharma, how did the jury balance the need for compliance and scientific accuracy with the desire for groundbreaking creativity and emotional impact? Can you give an example of a campaign that achieved this balance exceptionally well?
BOC: One campaign that really nailed the balance was “Friedreich’s Back” for SKYCLARYS. FA is such a rare disease that even many doctors know little about it, and that created mistrust around the first-ever treatment. To rebuild that trust, the team immersed themselves in the FA community, discovering that dark humour was how people coped, and connected.
So they leaned into it, creating a series that used comedy and social media to educate patients in a way that felt human and real. They even brought back the scientist who discovered FA to join the fun. Each episode cleverly wove in the product’s benefits through wit and authenticity.
It showed that even in one of the most regulated categories, creativity can be bold, empathetic, and genuinely life-changing.
CR: What was the most rewarding or enjoyable part of your experience as a LIA juror? Was there a particular moment, discussion, or campaign that left a lasting positive impression on you?
BOC: Judging the LIAs is always a real treat. Sitting in a room with such an accomplished group of judges from all over the world is incredibly inspiring. Everyone brings their own perspective and local insight, which adds real depth to the discussion and helps us see the work in new ways.
After several days together in a dark room, you end up debating every detail of every campaign that rises to the top, no stone left unturned. What stood out this year was the energy in the room when we started talking about the metal, and especially the Grand Lia. By the final day, after all the passionate debate, it was almost a unanimous decision, a rare and brilliant moment of collective agreement that reminded us all why we love what we do.
CR: Was there a campaign that surprised you? Anything that you hadn’t seen before, that changed the course of discussion for the good?
AM: Absolutely, that moment came with our Grand LIA winner, “Glowing Relief” from Puerto Rico. It’s a brilliant example of innovation born from empathy, not technology.
Puerto Rico experiences over 11 million blackouts a year, and for its ageing population, many living alone and reliant on daily medication, power cuts can be life-threatening. Imagine trying to tell your pills apart in total darkness. Their solution? The world’s first glow-in-the-dark prescription label. A simple, fully compliant varnish that charges in daylight and glows for up to six hours, long enough to guide patients safely through the night. No new tech. No app. Just smart, human-centred design that transforms a regulatory surface into a literal lifesaver.
It reminded us all that the most powerful ideas in Pharma don’t always come from AI or data, sometimes, they come from deep understanding, compassion, and the courage to make something beautifully simple..
CR: Looking back at the winning work, what do you hope the broader pharmaceutical industry takes away from the campaigns that were celebrated this year? What message do these winners send about the future of effective pharma marketing?
BOC: As a jury, we aimed to celebrate the very best work across the entire Pharma category, and across a wide spectrum of channels. From simple printed labels, to phone technology that recognises pain or helps children understand their condition, to branded campaigns for Zimmer Biomet’s You’ll Be Back and Cologuard, the winners showcased creativity, empathy, and impact in every form.
One key message is that branded work can, and should be celebrated. By highlighting both client and creative excellence, we hope to inspire the industry to push boundaries, think bigger, and raise the bar for next year’s work. The future of pharma marketing is about combining human insight with creative courage, and these campaigns prove it’s possible to do both brilliantly.
The LIAs remind us that in pharma, creativity is not just about standing out, it’s about making a real difference. Keep pushing, keep innovating, and let your ideas change the way the world sees healthcare.