Expedia keeps “See Yourself in Canada” going with character-led travel films
Expedia continues its Canada travel series with four films built around a guessing game, spotlighting how story structure can carry destination
There is a specific kind of travel content that people actually finish: the kind that feels like you are tagging along with someone who is genuinely curious, not watching a glossy montage of landmarks.
That is the lane Expedia is leaning into again with its “See Yourself in Canada” work, using a simple human hook (two friends playing a guessing game) to make destinations feel less like brochure copy and more like a shared experience.
Table of contents
Jump to each section:
- Why “character-first” travel storytelling keeps working
- What Expedia’s latest Canada chapter includes
- Why the guessing-game format is a smart creative device
- What this means for marketers
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Why “character-first” travel storytelling keeps working
People do not fall in love with a destination because a video lists vineyards, mountains, lakes, and coastlines. They fall in love because they can picture themselves in the moment: the joking around, the small surprises, the feeling of being slightly lost but in a good way.
Character-driven travel films also map to how audiences scroll. Viewers give you a few seconds to prove there is a story, not just scenery. When the narrative starts with people (and a premise), the location gets to reveal itself naturally instead of being “sold.”
What Expedia’s latest Canada chapter includes
Expedia partnered with production company Voyager on the latest installment of “See Yourself in Canada,” a co-branded travel series with Destination Canada.
This chapter includes four films: one highlighting Destination Canada overall, plus three that focus on New Brunswick, Kelowna in British Columbia, and Prince Edward Island. The spots are directed by Voyager’s Charles Frank and edited by Leap Year’s Nico Frank.
Across the region-specific films, two women explore each destination while playing a guessing game that builds through playful questions before landing on the invitation to “See Yourself in” each place.
Why the guessing-game format is a smart creative device
A guessing game is a lightweight plot engine. It gives viewers a reason to keep watching because there is an answer coming, and it invites them to play along from the couch.
It also changes what “destination marketing” feels like. Instead of telling audiences what to think about a place, the creative lets the environment do the talking while the characters react in real time. That reaction is the transferable part: viewers can imagine their own version of awe, silliness, and connection, which the director explicitly described as the on-set feeling the films aimed to capture.
From a brand perspective, the device does something useful without feeling like strategy: it keeps the Expedia message from interrupting the story. The tagline lands after the viewer has already emotionally “arrived.”
What this means for marketers
Travel marketing works best when it mirrors how people actually choose trips: not by memorising facts, but by imagining a vibe and who they want to be with when they get there.
- Give audiences a reason to watch beyond the visuals
A simple narrative mechanism (like a game or a mystery) can hold attention longer than beauty shots alone, especially in short-form viewing habits. - Let the destination be revealed, not explained
When the creative is built around real reactions, the place feels discovered. That discovery is more shareable than a list of attractions. - Use repetition as a series, not as a copy-paste template
Keeping the same core format across multiple regions makes each film feel connected while still allowing each location to stand on its own. - Make the brand line feel like a conclusion, not an interruption
“See Yourself in” works best when it reads like the natural wrap-up to the viewer’s own mental story of being there.
Over time, the travel brands that win attention tend to be the ones that treat destinations like culture and experience, not inventory. Character-led formats are a practical way to do that without overproducing or overexplaining.
They also hint at a bigger shift: audiences increasingly trust stories that feel lived-in. When a campaign captures the feeling of being somewhere, the marketing becomes easier because the viewer has already done the most important step themselves, imagining their place inside it.
