How GoDaddy got Goggins in goggles

Celebrity brand deals are nothing new, but, every once in a while, one comes along that makes you do a double-take. 

Case in point: Walton Goggins' Goggle Glasses, the eyewear venture that, at first glance, seems to be the actor's unexpected foray into fashion.

First introduced last November, the wraparound shades-meet-goggles hybrid has been spotted at high-profile events like GQ’s Men of the Year Party, proudly perched atop Goggins' noggin. Available for purchase at gogginsgoggles.com, the product quickly became the subject of internet speculation - was it a genuine business or a brilliantly executed Super Bowl stunt?

Teaser ads only added to the mystery, offering glimpses into the marketing strategy behind the brand and its connection to GoDaddy Airo, the domain giant’s AI-powered business builder. Then came the full reveal: Act Like You Know, GoDaddy’s Super Bowl spot, which leaned into the actor’s ability to embody any role... even that of an entrepreneur.

With the campaign masterminded by GoDaddy’s in-house creative team and agency Quality Meats, and helmed by Ian Pons Jewell, the spot revels in Goggins’ signature charm. 

We spoke to the key players behind the campaign - Go Daddy ECD Adam Nowak, Quality Meats' Co- Founders and Co-CCOs Gordy Sang and Brian Siedband and ProdCo director Pons Jewell - to uncover the full shady story.

Above: The GoDaddy Big Game spot.

When did the concept for the Super Bowl spot start its gestation? What were the key elements you wanted to explore and what led the insight down this route?

Adam Nowak, GoDaddy’s Executive Creative Director (AN): We decided early last year that our new AI experience, GoDaddy Airo®, deserved the biggest stage. As we started the brief, we focused on the fact that while most small business owners know how to do the thing they are passionate about, many of them lack the confidence in how to do all of the things to start and run a successful business. Now with GoDaddy Airo, small business owners can take the leap more confidently. You can look and feel like you know what you’re doing, even if you have no idea how to run a business. 

Aside from the communication objective, we knew we wanted an idea that was bigger than a one-off spot. Something that would generate buzz in the weeks or months before the game, then use the Big Game to help us kick off a new yearlong, creative platform for Airo.

Gordy Sang, Co-CCO, Co-Founder, Quality Meats (GS): The concept may have sparked in the very initial GoDaddy briefing. They talked about how small business owners starting out lack the traditional business knowledge to take their business from an idea to an actual thriving business. Because most lack the confidence and can feel like they don’t know what they’re doing when it comes to everything it takes to launch and run a business. But GoDaddy Airo uses AI to take some of that business-y stuff off your plate so you can focus on what you know how to do. 

As small business owners ourselves, it kind of clicked, because we didn’t (and still don’t) know what we’re doing. And we know that half the battle is appearing like you do.

How quickly did the idea for a celeb collab come along? When did your sights get set on Goggins?

AN: We sought something quite specific – an actor with incredible range who has played many roles, who fit our brand in personality and voice, and someone with an entrepreneurial spirit – including an idea or passion they wanted to bring to life but hadn’t yet. Walton is a creative inspired by many things, and fashion is surely one of them. He has a particular passion for sunglasses and entrepreneurship. His excitement for the creative process is something you can truly feel, and it's inspiring. 

Everything [Goggins has] been in, whether he’s the main character or not, you gravitate towards him because he has such an intense and contagious charisma.

We knew we had the right entrepreneur and decided to partner with him to get this business off the ground. Then we could reveal the secret to its success during the Super Bowl so that as many people as possible could see how if Walton can do it, so can they!

Brian Siedband, Co-CCO, Co-Founder, Quality Meats (BS): After a few rounds of going through work, we collectively landed on an idea where we’d lean into celebrities starting their own businesses. Because, sure, someone like a Clooney or a McConaughey might “look” like they know how to run an alcohol brand, but do these guys really know? We thought it was a fun angle because actors’ entire careers are built around looking like they know what they’re doing in different roles. So we thought it would be impactful to launch a real brand/product (pre-Super Bowl) with a celebrity to act as an elaborate product demonstration for GoDaddy Airo, and ultimately reveal it on the big stage.

We kept coming back to Walton, because he’s so versatile and is kind of the epitome of a character/role actor. Also, because everything he’s been in, whether he’s the main character or not, you gravitate towards him because he has such an intense and contagious charisma.

Above: One of the pre-match teasers.

How was the business found and how did that discussion start?

AN: When we talked to Walton, we knew we wanted to use his unique name – Walton Goggins. He’s spoken a lot about his passion for sunglasses (People.com, Hollywood Reporter), so the conversation naturally evolved into goggle glasses. The domain gogginsgoggles.com was available, so we secured that for Walton’s business, and the partnership took off from there.

GS: In conversations, we collaborated with Walton, kicking around different business ideas, some of which he had thought about over the years. We all collectively loved the idea of launching a business with Walton's name front and centre. Thus, Walton Goggins Goggle Glasses was born, capturing his affinity for active lifestyles and fashion—specifically sunglasses.

You can't say Walton Goggins Goggle Glasses without smiling.

Plus, you can't say Walton Goggins Goggle Glasses without smiling. It’s weird enough to pique your interest but believable enough that it’s something Walton genuinely would be passionate about (which he is).

The Super Bowl spot is clearly the crown jewel in the campaign, but the seeding of the idea started a few months back. What planning was involved in that, and was Goggins game from the outset?

AN: Manufacturing the goggle glasses was something we did together. We approached who we felt was the best manufacturer and began the prototype process that culminated in a terrific product. 

BS: Lots of planning. We looked into various styles of both glasses and goggles to create the most beautiful yet functional hybrid of both. Walton was involved every step of the way—helping to pick colourways, naming them, brainstorming social content, even deciding which movie scenes and characters he’d take on during the Big Game film.

Above: More mischevious teasers.

With slow-release campaigns like this, there’s obviously time for tweaking and pivoting. Did you have to alter plans much, and were there any unexpected moments?

AN: Absolutely. When you're building a business, it's nothing but change and pivoting. Walton's busy schedule—both filming and promoting various projects—gave him opportunities to talk about the business and showcase the glasses on the red carpet before they were even available for sale.

In addition, we had planned to connect GoDaddy, Walton, and the business the same week the devastating LA fires broke out. Out of respect for the people impacted and for a place Walton has called home for more than three decades, we delayed those activities.

BS: Yes and yes. But ultimately, it rolled out in a way that felt totally organic, and in the end, it's something we’re all really proud of.

Even before the main Super Bowl spot, we got some intriguing video teases. How were these planned out, and what was the strategy in how much or little to say?

AN: We started planning our roll-out in the autumn. We wanted it to feel like more of a story we were unfolding—a constant drip of Goggins Goggles social content and teasers for our Big Game commercial.

As we got closer to the Super Bowl, we used teaser spots to keep things intriguing. The first teaser didn’t show Walton at all—just his laugh. Then, in teaser #2, we revealed him goggled up in the race car, shouting Goggins, with the logo coming together. That’s when it clicked for people, and the internet started talking.

GS: It was literally a four-month launch plan, starting with appearances and content just around Goggins Goggles. Before they were even announced, Walton wore them on the red carpet at the GQ Men of the Year awards in November, which got some attention for his “space cowboy” style.

Walton's schedule gave him opportunities to talk about the business and showcase the glasses on the red carpet before they were even available for sale.

Then we launched a Founders Film to formally announce the brand, followed by a steady stream of social content. From there, it was about building a following and making Goggins Goggles a legitimately successful business before the Super Bowl.

On a separate timeline, GoDaddy announced its return to the Super Bowl after eight years, teasing who might be involved. Then they revealed it was Walton. At that point, the two paths converged, showing how GoDaddy Airo helped build this business online—one that people could already see was up and running. The Super Bowl ad was then the ultimate reveal, demonstrating how Walton, as an actor, could create a business like this.

Above: Goggins ricking the goggle on the GQ red carpet.

Finally, onto the main spot. It’s a blockbuster piece helmed by Ian Pons Jewell. What made you look in IPJ’s direction, and what did he bring to the piece?

AN: Ian was all in from the beginning. He completely understood the comedic voice that QM and GoDaddy were going for and continued to develop and workshop the script with Walton and our teams. Along with his incredibly talented team at ProdCo, he devised a cinematic approach that made the films feel big and polished.

Despite his incredible talents, Ian was also incredibly humble, making him a joy to have as part of the project.

BS: IPJ is an incredible craftsman. There’s no work he’s made that doesn’t look remarkable. Plus, his style always stands out from the usual commercial landscape.

Since this was a Super Bowl spot, we knew we needed something distinct, and Ian is one of the rare directors who can walk the line between beautifully serious filmmaking and comedy with a knowing wink. His approach felt perfect for this story.

How did you get involved with the project? What did you think of it when you first received it?

Ian Pons Jewell, Director (IPJ): It was one of those rare no-brainer projects because of the sheer amount of incredible creative effort that had already gone into it. Not only were the films well-written, but the entire world behind them had been so thoroughly developed.

Ian is one of the rare directors who can walk the line between beautifully serious filmmaking and comedy with a knowing wink.

An actual company had been created just to add depth and authenticity to the idea that anyone can make a website for their new business. And not just as a concept—the business was actually launched, with real glasses you can buy. It’s a testament to how far QM and GoDaddy were willing to go.

They really raised the bar. It felt like we were all on the same journey, making a great film together.

Comedy is clearly a strength for QM, as well as a Super Bowl staple. What audience do you have in mind when writing and producing comedy spots for such a big stage? Does it feel different from other comedic work you’ve done?

GS: It’s hard not to try to play to the broader Super Bowl audience, but in aligning with GoDaddy and their internal creative team, we wanted to make sure that both the film and the product came across in a premium way.

GoDaddy’s past Super Bowl work has sometimes been more intentionally shocking or even “salacious,” and this was a chance to reintroduce them in a more grown-up way. We still wanted it to be comedic and breakthrough, but just with a more sophisticated approach.

Ultimately, we tried to stay true to ourselves and find that middle ground between smart and dumb—the balance we always aim for.

Above: Additional ads in the campaign, after the reveal.

The film requires a number of genre-specific shoots. Is it fun to play in so many sandboxes, or does it just add to the pressure?

IPJ: Anything that you can sink your teeth into in a real way in advertising is a great thing. Often, we have to struggle to find the meat, or create our own little backstory or world to build within.

But this project had the genre journey baked in from the start, which allowed us to really dig into it. It was a very smart idea from the creatives—you can move from one space to another with huge shifts in settings, but because of its genre structure, you're tapping into an existing set of worlds that the audience already recognises.

Mauro, our wonderful DOP, nailed the looks and did a lot of exploration for this.

How was working with Walton Goggins? He certainly looked game throughout.

IPJ: An absolute dream. Honestly, I’ve never seen that level of dedication from any actor in a commercial—celebrity or otherwise.

He kept everyone on their toes, constantly drilled into the script, and gave his full self the entire time. It was incredibly special and an absolute highlight of my career.

What were some key elements you wanted to nail in the shoot? What was essential to bring it all together?

IPJ: The comedy, always. Brian, Gordy, and the QM team had this down, though. I didn't feel solo pressure to deliver, as their instincts were so on point.

The project had the genre journey baked in from the start, which allowed us to really dig into it. 

There were various ideas where I wasn’t sure if the comedy would work well, but once we got into the edit, they turned out to be some of the best moments. I learned a lot on this project, which is the dream. Projects that feel easy, where you don't gain experience or knowledge, can be quite forgettable.

Were there any unforeseen issues? How did you overcome them?

IPJ: The crime scene. I expected it to be quite a straightforward art department job—putting this hidden serial killer message in glowing paint on the floor. But it was an absolute nightmare. It didn't read well on camera.

To adjust it, we had this mess of glowing white paint to clear up and change. It set us back quite a bit, but our amazing VFX partners, ETC, came to the rescue and assured us we could capture what we had and always tweak it in post. It took a lot of adjustments.

There were plenty of other VFX challenges to solve, so a big shoutout to ETC—one of the best companies out there. They were wonderful. Also, a shoutout to Doochy [Moult], our incredible producer who really pulled this all together, along with the brilliant Lottie [Aspinall], our PM, and the rest of the ProdCo team.