Same Same Media’s public portfolio shows a creative company working across influencer campaigns, branded content, production, live events and strategic storytelling. Its recent work includes projects for Celsius Energy Drink, Supercell Games, InterContinental Hotels Group, Coinbase and Harvard Business School, giving a useful picture of how founder Ryan Fouss and co-founder Jesse Seidman are building the company’s production model.
Among the clearest examples is Same Same Media’s work with Supercell Games and WeHype on a Hay Day influencer campaign, which the company reports generated 18.7 million TikTok views. Other projects show the same team applying a different mix of production, talent, branding and storytelling to very different clients. The result is less a single signature format than an integrated creative model that adapts to the campaign.
The Hay Day campaign shows the company’s influencer strategy
One of Same Same Media’s most clearly documented recent projects is its work with Supercell Games, WeHype and creator Me And This Lemonade for Hay Day’s 12th Birthday Influencer Campaign.
Same Same lists the project as a case study and reports 18.7 million views on TikTok. The company identifies the work as influencer marketing and production.
The figure is a campaign-specific result reported by Same Same Media, rather than an independently audited measurement. Even with that qualification, it provides a concrete example of the type of work the company is pursuing: combining creator relationships with production rather than treating influencer marketing simply as a media-placement exercise.
That distinction matters because creator campaigns require more than finding an audience. The creative has to work within the creator’s established style while still serving the brand’s objectives.
From influencers to traditional production
The Supercell project is only one part of Same Same Media’s portfolio.
The company also lists Celsius Energy Drink under influencer marketing and production. Its public materials identify the project as involving extreme-sports athlete Carol Chafauzer, with Fouss credited as director, Seidman as producer and Brittany Hedl as editor.
That combination points toward one of the company’s recurring characteristics: bringing production expertise into campaigns that also depend on personalities, creators or athletes.
The approach can give a campaign more control over its visual language and storytelling, while retaining the reach associated with talent-led content.
A different model for Harvard Business School
Same Same Media’s work for Harvard Business School’s Institute for Business in Global Society demonstrates a different side of its capabilities.
Fouss said the company produced an animated video series for the institute, with Seidman and Fouss serving as producers. The series included an episode featuring University of Toronto professor Sarah Kaplan discussing diversity and “Gender Analytics.”
Same Same lists the Harvard project under creative strategy, branding and production, rather than influencer marketing.
That distinction is revealing. The company isn’t relying exclusively on a single production formula. Its work can involve educational storytelling and motion graphics just as readily as creator campaigns.
Same Same Media’s broader project mix
The company’s current portfolio covers several categories.
| Client or project | Publicly identified work |
|---|---|
| Supercell Games / WeHype / Me And This Lemonade | Influencer marketing and production; Hay Day campaign |
| Celsius Energy Drink | Influencer marketing and production |
| InterContinental Hotels Group | Production |
| Coinbase | Live events and production |
| Harvard Business School BiGS | Creative strategy, branding and production |
Same Same’s website presents these projects as part of its recent work and describes its wider capabilities as creative strategy, branding, production, influencer marketing, digital/social content and live events and experiences.
The portfolio therefore crosses consumer products, gaming, hospitality, financial technology and education. That variety is useful context when evaluating the company’s evolution: it is building a service model that can be adapted to different audiences and campaign requirements rather than specializing exclusively in one vertical.
The production philosophy behind the projects
Same Same describes its creative-strategy process as beginning with an examination of an audience’s interests and engagement, followed by development of ideas for content series. Its branded-content offering similarly combines storytelling with strategy and includes both editorial video and longer-form content.
That approach is consistent with Fouss’ professional background.
His biography identifies him as the founder of Same Same Media and a former TV producer and production team lead at National Geographic Channel Studios, with more than a decade of experience across television, streaming and digital content.
Seidman’s background is similarly rooted in media production; Same Same identifies him as an Emmy-winning co-founder and former Vice News employee.
The result is a company positioned to approach branded work through a production and storytelling lens rather than treating the creative execution as an afterthought.
What the latest work says about Same Same Media
The strongest conclusion supported by the public portfolio is that Same Same Media is expanding across formats rather than pursuing one narrowly defined type of campaign.
Influencer marketing appears alongside animation, branded video, live production, branding and creative strategy. The company’s own description also says its core team is supported by a global network of producers, strategists, event planners, shooters, editors and designers.
That structure allows the company to assemble different teams around different projects. A gaming campaign may require creators and social-first production; an institutional client may require animation and editorial storytelling; a live-event client may require an entirely different production operation.
The model’s effectiveness ultimately depends on the execution and the objectives of each individual campaign. The public case studies demonstrate the range of work, but they do not provide enough independently verified information to compare Same Same’s performance across clients.
The bigger picture
Same Same Media’s recent work is best understood as an example of how the boundaries between production company, creative agency and influencer-marketing operation are becoming less distinct.
For Fouss, the transition from National Geographic production to an independent creative company has created an opportunity to apply long-form storytelling experience to commercial projects.
The company’s portfolio shows that this is already taking several forms: creator-led campaigns, branded storytelling, animation, live experiences and strategic creative development.
The next projects will show whether that broad model remains the company’s defining characteristic. For now, the work already made public suggests that Same Same Media is less interested in fitting every client into the same production formula than in combining storytelling, talent, strategy and execution around the needs of each campaign.