The Wembley Cup is the most successful YouTube series to have ever been made in the UK. Currently in its 4th year of production, Hoi Polloi have been part of the core development and delivery team for this industry-evolving project from the very start.

The series alone, not including the marquee final, has received over 20 million organic views each year, winning the Most Effective Brand Campaign at the YouTube Awards in 2017. In its first year, back in 2015, the very first series boasted more views than the Champions League Final in the UK.

For a show made on a constrained digital budget and distributed entirely through a single influencer’s own channel, this EE sponsored football series has broken every ceiling we could have imagined at the start of the process.

Every year the format of The Wembley Cup has consciously reflected the current YouTube world, and its fast changing audience’s viewing trends. In its first year, the Wembley Cup began its very first episode ever as a simple Fifa Gameflow challenge between Miniminter [of the Sidemen] and Spencer Owen. They’d take their gaming off-console into the real world, build two footie teams and challenge each other on the most prestigious pitch in the UK, Wembley Stadium, the home of the England Team.

Year 2 saw us build on the theme of challenges, with Footie Legends up for grabs each episode. The challenger this year was Joe Weller. Year 3 introduced F2 as the challengers. It also saw us test out the capacities of the newly opened Google Studios in London and create a TV talk show format alongside more challenges. Year 4, 2018 and everything has changed again…you’ll have to wait to see how…but it’s bigger and better than ever.

More on the Wembley Cup Final, where the series goes stratospheric in a separate section. But before you go, its worth understanding how this series is made. Hoi Polloi move into Poke London and work completely seamlessly with all areas of the business and the wider Publicis team. It’s the only way such a complex series with constant changes can be produced. We even bring the edits in-house on site, so that the 5 month production each year can be managed day to day in a completely integrated way. And managing the influencers and their contracts? Well, we’ve kinda got the T shirt on that one now, with full hats off to Poke and the wonderful Fiona in Business Affairs