Finish Powerball versus Life

Reckitt Benckiser is running “Powerball versus Life”, a set of television commercials promoting the Finish dishwashing brand. “Heartbreak” and “Ageing” follow on from the success of the 2015 campaign “Dishes” and “Glasses”. Viewing ageing and heartbreak through Finish’s charmingly dish‐obsessed lens, the Finish Powerball versus Life campaign focuses on moments when the Finish Powerball must take on the dishes produced by life’s many turmoils and messy moments.

Finish Powerball versus Life Ageing ad

The Finish Powerball Campaign

‘Ageing’ and ‘Heartbreak’ are respectively examined by the dishes they create. ‘Ageing’ is defined by tough, sticky, birthday cake‐streaked plates, while ‘Heartbreak’ leads to dishes streaked with gooey, difficult to clean comfort food residue. Told not from the human perspective, but from a dishwashing point‐of‐view, each new TVC sees the Powerball taking on life’s dishwashing challenges and proving that it is well‐equipped to deal with them. A natural progression from ‘Dishes’ and ‘Glasses,’ the latest TVCs explores the inevitable moments dirty dishes pile up, and how Powerball tackles life’s dirty dishes.

Finish Powerball versus Life Heartbreak ad

According to Wieden+Kennedy creative directors Carlos Alija and Laura Sampedro, “Many books, songs and films have attempted to explain human nature and the meaning of life. Finish believe what defines human existence and what men and women came to this world for is making tons of gooey, sticky, dirty dishes. While someone writes a poem or an opera about this, who better than the leading dishwasher brand to reveal this inexorable truth?”


The Finish Powerball versus Life campaign was developed at W+K London by executive creative directors Tony Davidson and Iain Tait, creative directors Carlos Alija and Laura Sampedro, copywriter Sophie Bodoh, art director Ben Everitt, TV producer Michelle Brough, head of planning Paul Colman, planning director Tom Lloyd, group account director Nick Owen, account director Sophy Woltman, account manager Holly Baker-Cliff, working with Helen Powell.

Filming was shot by directing collective Canada vs Riff Raff Films with executive producer Matthew Fone, line producer Cathy Hood, director of photography Oscar Faura.

Editor was Dominic Leung at Trim.

Visual effects were produced at Time Based Arts by VFX supervisor/Flame artist Luke Todd, producer Chris Aliano, colourist Simone Grattarola.

Sound was produced at Factory by sound designer and mixer Jon Clarke and producer Rebecca Bell. Music was produced at Siren by composer Alex Baranowski.