Good Sh*t: PETA made singing poos sell the digestive case for veganism

A group of cheerful singing poos wants people to go vegan. PETA’s Good Sh*t campaign turns digestion into the argument, using cute animation, music and toilet humour to make plant-based eating feel approachable. SAMY created the global campaign, with the film produced by Flamboyant Paradise.

The idea avoids a lecture. Instead, it gives people a personal benefit they can understand the next time they visit the bathroom.

The Message Starts in the Gut

PETA campaigns often ask people to think about animals, farming and the environmental cost of meat. Good Sh*t begins inside the viewer’s own body.

The campaign focuses on the fibre found in plant foods and the role it can play in regular digestion. That gives veganism an immediate benefit rather than a distant moral promise. Someone may not change their diet after hearing another statistic about agriculture. However, they may pay attention when the subject is their own constipation.

SAMY arrived at the idea through social listening and research into the barriers around vegan messaging. Graphic images of animal suffering can make people look away. Meanwhile, digestion is familiar, private and rarely discussed in advertising.

Good Sh*t makes that uncomfortable topic easy to enter.

Why the Poos Had to Be Cute

The film gives its subject a kawaii visual style, with soft shapes, bright colours and characters designed to feel harmless. That choice carries much of the campaign.

Realistic toilet humour would quickly become unpleasant. The animation keeps the joke light enough to watch and share. Furthermore, the characters sing rather than explain. The health message becomes part of a catchy performance instead of a list of dietary instructions.

The title does another job. Good Sh*t works as praise, profanity and a literal description of what the campaign is selling. It is direct enough to stop someone scrolling, while the animation makes the language feel less aggressive.

The result stays playful without losing the point. Better food can lead to a happier digestive system, and PETA wants that food to be vegan.

Made to Travel Across Social Media

The central film was created in horizontal and vertical formats for YouTube, Instagram and TikTok. Animated GIFs extend the characters beyond the main video, while Spotify audio spots let the song work without the visuals.

That flexibility matters because Good Sh*t depends on repetition. The melody, title and characters are simple enough to survive as short clips, stickers and isolated animations. Meanwhile, the campaign is also moving into outdoor placements and physical stickers distributed across the UK.

Each format carries the same compact thought. Going vegan can be good for animals, the planet and the person sitting on the toilet.

The campaign does not need to explain the full case every time. Once the title and characters are recognised, a few seconds of music can bring the idea back.

What Made It Different

Good Sh*t gives PETA a reason to talk about veganism without placing suffering at the centre of the communication.

The animals remain the reason behind the organisation’s work. However, the advertisement meets people through self-interest. It asks them to consider how their diet feels, not just what it represents.

That shift also lets humour do more than attract attention. The joke lowers the pressure around a subject that can easily become moral or confrontational. Viewers are invited to laugh first and think about dinner afterwards.

A singing poo may be an unusual spokesperson for veganism. Still, it makes the campaign’s promise hard to misunderstand. Eat more plants, and your body may have something good to say about it.

Credits

Good Sh*t (2025) — PETA, global campaign launched from the UK. Agency: SAMY. Global Chief Creative Officer and Creative Director: Santi Lucero. Copywriters: Santi Lucero, Adrián Rey and Nicolás Larroquet. Strategy Director: Julia Kaiser. Production: Flamboyant Paradise. Directors: Javier Lourenço and Alvarez Ortega Bianchi. Executive Producer: Javier Lourenço. Producer: Julia Macarena Novío. Character and Environment Design: Alvarez Ortega Bianchi. Music and Sound Design: Noroeste Music. Composition: Pedro Gómez, Javier Lourenço and Santi Lucero. Singer: Patrissia Lorca.