Who is behind the “Jesus He Gets Us” commercials?
An inside look at the campaign, the creators, the funders and the media strategy
(By Carmichael Phillip)
Origins of the Campaign
The campaign known as He Gets Us launched in 2022 with the stated goal of “re-introducing people to the Jesus of the Bible.”
It was originally operated by the Servant Foundation (also known as The Signatry) — a donor-advised fund that provided initial backing.
The campaign quickly made headlines for its high-visibility ads, including commercial spots during major events such as the Super Bowl LVII and subsequent Big Game broadcasts.
Who is creating the adverts? The agency and creative teams
In terms of production and creative leadership, the campaign has been associated with:
A Dallas-based advertising agency, Lerma Group (aka “Lerma”), which is cited as the creator of several of the “He Gets Us” Super Bowl commercials.
A branding/marketing firm known as Haven Worldwide (or simply “Haven”) earlier in the campaign, whose founder and chief creative officer is Bill McKendry and whose president is Jason Vanderground.
reachrightstudios.com
These agencies helped with the creative strategy, market research and large-scale media budgeting for the campaign.
Funding & Donor Structure
One of the more scrutinized aspects of the campaign is how it is financed:
The Servant Foundation (The Signatry) served as a principal funding vehicle.
Among known donors is David Green, founder of retail chain Hobby Lobby — he has publicly acknowledged supporting the campaign.
The initial rollout reportedly cost in the order of US $100 million or more, and future spending goals for the campaign were in the “billion-dollar” range.
While some donors are known, the campaign states that many individual contributors remain anonymous.
Organizational Shift and Current Oversight
As of early 2024, the campaign’s oversight shifted: the “He Gets Us” campaign is now operated by the nonprofit Come Near, which describes itself as a “startup” innovation studio producing stories and experiences centered on Jesus.
The move reflected a transition away from the original foundation (Servant) to a more visible organizational vehicle with creative leadership aligned to the campaign’s next phase.
en.wikipedia.org
Target Audience and Messaging Strategy
The campaign appears to have been developed with a specific audience in mind: people who are “spiritually open skeptics” — those who may not attend church regularly or who have had negative experiences with organized religion.
reachrightstudios.com
The messaging emphasizes themes such as radical forgiveness, inclusion, love, and re‐introducing Jesus in a culturally relevant way (including metaphors around “cancel culture,” “refugee,” “immigrant”).
The adverts aim not simply at existing Christians, but at those outside-church who might be more influenced by popular culture and mass media.
Controversies & Criticisms
Given its scale and high media visibility, the campaign has generated both praise and critique. Some of the key issues raised include:
Though the messaging is inclusive, critics point out that some of the underlying donors and organizations linked to the campaign have supported anti-LGBTQ+ or anti-abortion causes, creating a tension between promised values and donor history.
Questions have been raised about the ethics of spending vast amounts (tens of millions of dollars) on mass-market commercials for a religious message. Some argue the funds could be directed to direct ministry or social services.
The imagery of the campaigns sometimes uses social-justice or justice-warrior frameworks (e.g., foot-washing scenes, refugees) that have prompted theological critique about whether the biblical Jesus is being portrayed simply as a brand.
Nevertheless, the campaign’s leadership defends its approach as one of storytelling, relational engagement, and cultural relevance.
Media Strategy & Deployment (Super Bowl, Billboards, Digital)
The campaign’s media strategy is noteworthy for its scope and multi-channel approach:
The “He Gets Us” commercials aired during prime major-event broadcasts (e.g., Super Bowl).
The campaign also uses digital and online video, billboards, social campaigns and other out-of-home media formats to reinforce its message.
On the creative front, the 2025 spot titled “What Is Greatness?” followed previous years’ framework: still-image sequences, a music backdrop (e.g., a cover of Depeche Mode’s “Personal Jesus”), and a direct invitation to explore further via a website.
Adweek
Why It Matters: Implications for Religious Messaging and Culture
The “He Gets Us” campaign is significant for several reasons:
It represents a large-scale use of commercial-style marketing techniques applied to religious messaging, rather than simply church-based outreach.
It reflects how faith organizations (or affiliated groups) are adapting to audiences who consume media differently (YouTube, social, streaming) and who may be skeptical of traditional religious institutions.
It raises broader questions about authenticity, funding transparency, and alignment between message and donor identity: when a campaign about radical inclusion is funded by groups with exclusionary histories, the optics matter.
It invites reflection on how the figure of Jesus is presented in popular culture: as activist, refugee, influencer, outsider—this differs from traditional Christological portrayals and sparks conversation about intended audience and theological framing.
Summary & Key Takeaways
In short:
The “Jesus commercials” you may have seen under the banner “He Gets Us” are the product of a major advertising campaign originally launched by the Servant Foundation and now overseen by Come Near.
A number of agencies and creative firms (such as Lerma and Haven) have been involved in crafting the visuals and narrative structure.
Funding comes from donor-advised funds and individual supporters (some disclosed, many anonymous), including notable evangelicals like David Green.
The campaign seeks to reach non-church-going, culturally-aware audiences, using modern advertising channels and story-driven spots.
It is a bold and somewhat controversial effort—praised for its ambition, critiqued for its funding structures and messaging alignment.
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