Uber Eats is back with a second wave of its long-running “Get Almost, Almost Anything” campaign, once again turning product names into hilariously literal setups to spotlight the platform’s growing mix of food and retail offerings.
The new work leans even further into visual wordplay, building on the campaign’s now-familiar formula of taking everyday items at face value before revealing what consumers can actually order through the Uber Eats app.
One of the standout new films, “Burt’s Bees,” created in collaboration with Sesame Street, features Ernie decked out in a full bee suit and spiraling over Bert’s bees.
Nick Ball of MJZ returns to direct, bringing the same precise cinematic approach that helped make the platform work in the first place. Each spot treats its absurd premise with a straight face, grounding the joke in a believable world before flipping the meaning to reveal the real product available on Uber Eats. Watch below:
In “Shower Caddy,” a golfer crashes into someone’s shower, which is about as welcome as it sounds.
In “Head of Lettuce,” hockey players face off by whipping around their flowing hair in a dead-serious hair battle.
In “Hot Dogs,” a crew of smug, overheated dogs lounges poolside, fully embodying the phrase in every possible way.
“The magic of ‘Get Almost, Almost Anything’ is the endless room it gives us to play,” said Liza Keller, Head of Integrated Marketing at Uber Eats. “By taking everyday items from our selection and reimagining them in unexpected ways, we’re able to entertain people with humor while highlighting just how wide and wonderful the Uber Eats marketplace has become.”
For director Ball, the key was to treat each film not as a sketch but as its own fully realized world. “For me, this was about setting a direction from the very first frame,” he said. “When you launch a new platform, tone is what carries it, and because the idea itself is clean and simple, the craft has to be deliberate and controlled. If you’re sloppy with it, it’s just a dad joke with a budget. If you’re disciplined, it becomes something far more interesting and cinematic.”
That is part of what makes the work click. After seeing one or two of the films, viewers start trying to guess which product name will get the overly literal treatment next. It is a smart way to keep the work playful and memorable while making Uber Eats’ ever-expanding marketplace the hero.
Ball added that the team avoided pushing the comedy too hard, instead letting the seriousness of the world sharpen the absurdity of the idea. “The more seriously we took the misread, the funnier it became,” Ball said. “We never chased the laugh. We built the world and let the joke live inside it.”
That discipline also shaped the campaign’s visual language. “When a premise is playful, the instinct is to crank it,” Ball said. “Bigger faces, bigger music, bigger reactions. We went the other way. If the world feels believable, the absurdity has bite. If everything is already heightened, there’s nowhere for it to go.”
The result is a platform that feels both tightly controlled and endlessly expandable. Each execution follows a simple rule: misread the product name, build a world around it, commit fully, then reveal the actual item. That consistency gives the campaign room to stretch while staying instantly recognizable.
“What I love about this structure is how expandable it is,” concluded Ball. “As long as products exist, there are worlds to build.”
Special US CCO, Matthew Woodhams Roberts, said the latest round pushed the idea into even more unexpected territory better to reflect the breadth of Uber Eats’ offering. “To take this campaign even further, we wanted to get more obscure to illustrate the range of things Uber Eats delivers,” he said. “This led us to some very funny literal interpretations like shower caddies and even our favourite lip balm, Burt’s Bees.”
He added, “A real highlight of this campaign was discussing with Sesame Street just how many bees it would take to make Ernie bee-wildered, or all a-buzz.”
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