
Mashreq's SMASHREQ TikTok padel game smashes records, connects with Gen Z
Mashreq has revealed details behind the success of its latest SMASHREQ campaign, which was rolled out in the form of an augmented reality (AR) game on TikTok, connecting Mashreq with the padel community. Reportedly, the first-ever padel game on TikTok, SMASHREQ has officially claimed the title of TikTok's top AR sensation, outperforming more than 40 other games released during the last two years.
The campaign was launched to raise awareness about of Mashreq's long-standing association with padel and to reinforce the bank's involvement in sport and wellness. In addition to connecting with youth through digital engagement and padel gamification, the brand also aimed to establish relevance, strengthen Mashreq's positioning as a 'premiere padel brand'.
Using creative, entertaining content, Mashreq reflected padel as a dynamic, social sport that resonates with both existing followers and new audiences, thus, creating a community and establishing a network of Padel enthusiasts. Mashreq also created a hook advertising film to aggressively promote the trending game.
Rollout of the SMASHREQ campaign
The game went live on TikTok from 25 March 2025 to leverage from Ramadan's social traffic.
The game has already been on the platform for 30 days, as of 25 April 2025, and will remain on the platform for another 30 days.
Mashreq has ensured relevance and reach through a programmatic push combined with digital PR.
Additionally, through this period, Mashreq had influencers endorsing the game, paid social content to promote the game, and even incentivised the game itself to increase engagement.
TikTok also noticed that content creators have organically picked up the game, played it, and promoted it on their channels.
The campaign was supported by collaborations with some of the UAE's top padel players who promoted challenges around the game such as goading people on to beat their high scores.
Top players from the UAE Padel Association (UAEPA) and the Egyptian Padel Federation (EPF) advocated for the game.
Success of the SMASHREQ campaign
While most TikTok content garners attention for approximately 70-90 seconds, Mashreq, quite literally, smashed it with a commendable dwell time of 200 seconds, which is a whopping 143 per cent above the norm.
'Players can't get enough. With an average of 2-3 returns for another round, it's clear that SMASHREQ is the game everyone's talking about,' said Suad Merchant, Global Head of Brand, Partnerships, and Corporate Communications at Mashreq.
The campaign, which was the brainchild of Mashreq's Manager of Brand and Partnerships, Saba Oomer, witnessed incredible success, highlighted in its performance metrics:
UAE brand campaign performance (Within 10 days)
Impressions : 10.20 million
: 10.20 million Reach : 6.09 million
: 6.09 million Views : 9.75 million
: 9.75 million Clicks: 278,000
Egypt brand campaign Performance (Within 10 days)
Impressions : 15 million
: 15 million Reach : 10.36 million
: 10.36 million Views : 14.5 million
: 14.5 million Clicks: 860,000
If the numbers are anything to go by, SMASHREQ has not only captivated gamers and Gen Z social media scrollers, it has also become something of a cultural phenomenon.
View this post on Instagram
A post shared by Mashreq Egypt المشرق مصر (@mashreqegypt)
Hashtags

Try Our AI Features
Explore what Daily8 AI can do for you:
Comments
No comments yet...
Related Articles


Campaign ME
3 days ago
- Campaign ME
How TV and video content reflect and shape societal trends
TV and video content do more than entertain – they participate in a powerful cultural feedback loop. What society values, questions, or fears often finds its way into the content we consume. In turn, that content influences public opinion, behaviour and culture. This dynamic exchange between media and society is constant and evolving, with creators and audiences shaping each other in real time. Below is a breakdown of how TV and video content both reflect and shape societal trends. Reflecting societal trends TV and video often serve as a mirror to society, revealing what we care about, what we're debating and how our identities are shifting. Real-world issues in storytelling: Contemporary storytelling often draws from real-world concerns. Documentaries and dramas address urgent issues – When They See Us explores systemic racism and police brutality, while Taare Zameen Par sheds light on mental health and learning disabilities. These stories echo public discourse and deepen social awareness. Generational trends and digital culture: The rise of YouTube, TikTok and other participatory platforms reflects a shift toward democratised media. Audiences no longer just consume content – they create it. This shift mirrors our culture's move toward individual expression, authenticity and instant connection. Shaping societal trends While content reflects society, it also actively shapes it – guiding how we think, what we value and how we behave. Setting norms and aspirations: TV shows influence cultural expectations and lifestyle choices. Sex and the City, for instance, redefined urban single life and consumer culture for an entire generation. Home renovation shows influence how people view personal space and home-ownership. Language, fashion and pop aesthetics: TV and video are major trendsetters. Catchphrases, fashion styles and makeup looks often go viral after appearing in a popular series. Shows such as Euphoria and Stranger Things have shaped youth fashion, music and visual culture across social platforms. Shaping political and social perspectives: Satirical news programmes such as The Daily Show or Last Week Tonight don't just entertain – they inform and persuade. They help frame political events for a younger, often more sceptical audience. Meanwhile, political dramas such as House of Cards influence public perception of government and leadership. Feedback loop between media and society In today's digital world, the relationship between media and society is more interactive than ever. Audiences are no longer passive viewers – they're active participants. Real-time reactions and content evolution: Social media has revolutionised how audiences respond to content. Viewer feedback – whether praise, critique, or backlash – reaches creators instantly. This immediacy has led to real-time adjustments in casting, storytelling and tone. Influence of social movements: Movements such as #MeToo and Black Lives Matter have directly affected the media landscape. Networks and studios are rethinking representation, investing in inclusive narratives and prioritising authentic voices to reflect societal calls for justice and equality. Demand for authenticity and representation: Audiences demand content that feels real and inclusive. This push has led to diverse casts, culturally sensitive writing and collaborations with underrepresented creators. Media now responds not just to market trends, but to ethical and cultural imperatives. Media as a cultural force TV and video content are cultural artifacts and engines of change. They both document and shape the identities, ideologies and dreams of society. As digital platforms and global audiences grow, so does the speed and scale of this feedback loop. What we see on screen doesn't just reflect who we are – it helps define who we're becoming. By Prasad S. Amin, CEO, Integrated Advertising Services (IAS MEDIA)


Khaleej Times
3 days ago
- Khaleej Times
Streaming trends 2025: Are weekly episodes replacing the binge?
For years, streaming taught us to binge. Entire seasons dropped in one go, the 'Next Episode' button eliminated cliffhanger suspense, and weekend marathons became the norm. But now, something surprising is happening — especially among Gen Z: the weekly drop is back, and it's not just working — it's winning. Take The Last of Us Season 2 on OSN+, a gritty, emotionally devastating post-apocalyptic series that concluded after a seven-week run on May 26 in the UAE, becoming a Monday ritual across the Middle East. The show didn't just dominate timelines — it's dominated time. One episode a week. No skipping ahead. No spoilers unless you dare. What changed? This is the generation long believed to crave instant gratification — the same cohort known for skipping intros, doubling playback speed, and abandoning a series two minutes in. Yet they're showing up week after week for slow-burn television, emotionally raw narratives, and serialised suspense. Why? Because binge culture may have offered control, but the weekly drop delivers community. According to OSN+, Gen Z viewers in MENA (Middle East and North Africa) are choosing weekly drops over binge dumps; 47 of the top 50 most in-demand shows in early 2023 in MENA followed a weekly or staggered release model. TikTok and the rise of episodic attention Ironically, the same Gen Z that's glued to TikTok's short-form content is helping drive this shift. TikTok, once known for its 15-second dopamine hits, has evolved into a platform of mini-episodic storytelling. Viral multi-part sagas like the 'Who Did I Marry?' series or real-life 'Storytime' confessions span five, ten, sometimes twenty clips — and viewers stick around. These aren't just passive watches; they're participatory. Viewers stitch reactions, drop theories, and stay hooked until the final reveal. Sound familiar? It's the same energy fueling weekly appointment TV. In Gen Z's own vernacular, 'it's giving… community.' Weekly drops vs. the binge: What platforms are doing Streaming services have started to take notice and vary their release strategies accordingly: Netflix remains synonymous with binge culture (Bridgerton, Baby Reindeer, Selling Sunset) — often dropping entire seasons at once. But it has flirted with the weekly format for reality shows like The Circle and Love Is Blind, using cliffhangers and staggered episodes to fuel online buzz. It also drops seasons in parts; for instance, makers of Stranger Things released seven episodes of their hit show's fourth season on May 27, 2022, and the remaining two episodes on July 1, 2022. Disney+ almost exclusively releases episodes weekly for major titles like The Mandalorian, Loki, and The Acolyte, leaning into fandom discussion and long-tail engagement. Amazon Prime Video often uses a hybrid model. Shows like The Boys and Invincible premiere with two or three episodes, then shift to weekly drops. HBO/Max (and by extension OSN+ in the Middle East) is a purist in this space, famously championing weekly releases for shows like House of the Dragon, and now The Last of Us. The result? A groundswell of online chatter, theories, and emotional build-up that just doesn't happen with full-season dumps. Each model serves a purpose, but there's a growing appetite for the slow-burn — especially when the story deserves space to breathe. When The Last of Us S2 premiered on OSN+, fans weren't just watching — they were posting, reacting, and predicting. Major character arcs — like the divisive arrival of Abby (played by Kaitlyn Dever), or the emotionally loaded moments with Joel (Pedro Pascal) — became weekly conversation starters. TikTok exploded with edits and think pieces; Reddit threads broke down symbolism, flashbacks, even line delivery. This isn't just consumption — it's participation. Each episode becomes a cultural event, a shared pause in the chaos of content overload. And in a world where everything moves fast, the wait becomes a feature, not a flaw. The return of the weekly drop isn't just a throwback — it's a digital coping mechanism. It builds anticipation. It invites reflection. It lets stories sink in. For a generation bombarded with stimuli, the wait might just be the magic. Binge culture trained us to race. Weekly TV is teaching us to feel. What do you prefer? Binge watching or weekly episode drops.


Filipino Times
4 days ago
- Filipino Times
Taylor Lautner acknowledges viral Filipino 'What hafen, Vella?' meme
Taylor Lautner is now aware of the viral Filipino meme that parodies his 'Twilight' character, Jacob Black. The line 'What hafen, Vella?' became popular through Cristopher Diwata, a Filipino impersonator, and has trended again years after it first aired. On TikTok, Lautner shared a video with his wife, Taylor Dome. In the comments, one user teased that he had noticed everything except the meme, saying, 'Bro noticing everything except 'What hafen Vela' trend.' Lautner replied, 'Yup, but it's not your fault, it's mine,' a nod that showed he's now aware of the trend. His comment has reached over 55,000 likes as of this writing. Although Lautner didn't recreate the meme himself, this is the first time he's publicly acknowledged it online. Cristopher originally performed the meme line in 2013 on ABS-CBN's 'It's Showtime' under the 'Kalokalike' segment. The video resurfaced in recent months, making the impersonator viral once again. Cristopher has since collaborated with Filipino celebrities and brands like SB19, Ben&Ben, Barbie Forteza, and TikTok star Abi Marquez, thanks to the line's renewed popularity.