Instead of some mint flavor, would you want your toothpaste to taste like a Whopper? That’s what Burger King France has cooked up with its agency Buzzman. Or at least, that’s what they’d like you to believe. The agency has unveiled a goofy new 60-second spot for the brand’s alleged toothpaste product that will “soon…
Facebook is making a dramatic change to the social network’s mobile application, letting people post pictures and videos that disappear after 24 hours.
Dramatic, but unsurprising: It’s the fourth time the company has added such a feature to its apps. And it’s a tool that was invented by its smaller, newly public competitor: Snap Inc., whose Snapchat lets users annotate photos and videos by adding text, drawings, masks and filters and then post them to their “story” or send them to friends.
Facebook added the same capability in recent months to its Instagram, WhatsApp and Messenger mobile apps, seeking to capitalize on the popularity of the format to keep people on its properties rather than toggling over to Snap’s network. Yet Facebook doesn’t shy away from the comparison — and is calling the new version on its main application “Stories,” too — just like Snapchat’s version.
Every day, digital publishers are challenged by the fragmentation of media. Third-party and social platforms appropriating content, mobile “snacking,” low-quality “clickbait” competition and content recommendation services that drive visitors off-site are just some of the factors depressing pageviews, engagement and monetization. For these reasons, many key publisher metrics are trending downward. According to ComScore, digital publishers now see only 1.7 pageviews on average and just 3.8 minutes on-site per session.
The good news is that the publishing industry has begun to align on a solution to the problem. Several leading publishers — from Jeff Bezos at The Washington Post, to the New York Times’ recent 2020 Report — have identified visual, interactive storytelling as the right strategy to engage modern readers, who no longer wish to engage with longform text. Here’s why.
The power of rich media
Pinterest has started pursing a segment of advertisers that may one day contribute a quarter of its revenue: small and medium-sized businesses.
The company unveiled a new program Wednesday, called Pinterest Propel, that provides special services for new advertisers unfamiliar with the way its site works. By committing to spend up to $100 a day on Pinterest ads, companies get extra support and education, and Pinterest will design some of their ads for them. The startup is also offering it to marketing agencies, which get customized tips from Pinterest ad specialists for up to three clients.
Pinterest is recruiting smaller advertisers in part because people come to the company’s site to get inspired by unique ideas. On Pinterest, people post and search for pictures they can use to plan vacations, weddings, home furnishing and cooking, for example — and the ads look similar to posts from any other user. Bespoke furniture-makers and clothing designers tend to be smaller companies and are willing to spend to grow, said Tim Kendall, president at Pinterest.
Carl’s Jr. and Hardees have dropped the teeny-bikini “babes” from their advertising in favor of a food-focused approach.
A new film from 72andSunny and directed by Hungry Man’s Wayne McClammy tells the story of a company run amok at the hands of its poster child millennial CEO, the fictional Carl Hardee, Jr. (played by comedian Drew Tarver), who slouches in his office chair, gawking into VR headset along with his buddies, a shirtless dude in a hot tub and a young woman riding a mechanical bull. But the fun stops when faux founder Hardee Sr., played by Charles Esten (“Nashville,” “The Postman”) storms in to take back control.
Junior is forced to account for his past “mishaps” — like his “hot chick” advertising — depicted in a huge artwork on the wall featuring former ad star Charlotte McKinney with a pair of burgers hiding her naked bosom and an old spot playing on a TV screen starring Jessica Simpson in her Daisy Dukes.
L.L. Bean has selected The Via Agency as its new agency of record, following a “highly competitive review process that included numerous agencies” across the U.S., according to a company statement.
The brand had previously worked with Erwin Penland since 2014. Representatives from the agency were not immediately available for comment. Last spring, Erwin Penland helped L.L. Bean create a campaign that played up the brand’s heritage by shining light on its high-quality, durable goods as an improved alternative to disposable fashion.
For the past year, L.L. Bean has worked with Via on a “comprehensive branding project,” in which the brand and agency “realized a synergy and aligned on a common strategic vision,” according to a statement from the retailer.
Online
Audi
Advertising Agency:Loved, Hamburg, Germany
Copywriter:Sabine Cole
Photographer:Jan Van Endert
Additional Credits:Jan Schlüter, Music Production, Sounddesign by
Kingfisher plc has launched its first international, multi-platform marketing campaign, ‘Start Something New’, to support the home improvement company’s new range of Unique outdoor products. Based on extensive customer research which included visits to hundreds of customers’ homes, the exclusive products have been designed and created by Kingfisher’s in-house teams to reflect the realities of their customers’ lives.
With heavyweight media support, the campaign is rooted in Kingfisher’s belief that the home is at the heart of people’s lives, with huge emotional significance.
On March 23, the TV advert created by Leo Burnett London is a personal story linking new life stages and the promise of new memories to come, with the new product range. Directed by British actor and director Dexter Fletcher (director of the 2016 hit film, ‘Eddie the Eagle’) the advert shows how the new range of products can create a positive change in customer’s lives thanks to unique designs and accessible pricing.
Commenting on the creative, Chaka Sobhani, Chief Creative Officer for Leo Burnett London, said: “We’re really proud to be part of the start of this journey with Kingfisher, a brand who believe great design should be affordable and available to all. Our stories hopefully mirror how great design really can have an impact, small or big, on our everyday lives.”
The ad will air in the UK from 23rd March to 5th April, and all products are currently available at B&Q. As well as the UK, the ad will also be shown in France and Romania.
Mr. Hannity, the Fox News personality, is lashing out over an interview aired on “CBS Sunday Morning.”
-Arby’s and Fallon still have the meats, but now they need a gyro, get it?
-One of the 5 lessons Campaign learned from attending an IPG and Advertising Club of New York event celebrating black women in advertising is that “I can’t find them” is a big lie.
-You should also read Campaign’s piece about how work like McCann’s “Fearless Girl” risks feeding into public cynicism about “corporate feminism” and ad campaigns disguised as social movements.
-Meet the Consultants: Accenture and Fjord will be camping out in Karmarama’s London offices like one big, happy family.
-The ad industry welcomes Theresa May’s promise to “maintain close relations with Europe” following Brexit so it can keep scoring all that top talent.
-In far less significant British news, adam&eveDDB’s Dom Boyd is headed to Publicis London as chief strategy officer.
-AB InBev is going 100% renewable for 2025. But the beer will still taste the same.
-Snapchat still thinks it can make those big marketing dollars, which makes sense because most people just want ads to disappear.
The UK advertising industry must remain open to global talent in the wake of Article 50 being triggered today.
The risk of ads being served next to content deemed inappropriate to brands has actually decreased globally from the first half of last year, from 11.2%, overall, to 8.9% in the second half of 2016.
É a quitanda (quase) sem contato com humanos
> LEIA MAIS: Amazon lança serviço que entrega compras no porta-malas do seu carro
Nesta semana, participando da campanha #OPodcastÉDelas, recebemos Domenica Mendes para corrermos perigo com o “Lobo de Rua” de Jana P. Bianchi. OUÇA ======== Download | iTunes | Feed ======== COMPRE O LIVRO Saraiva Cultura Amazon ======== COMENTADO NO EPISÓDIO Podcast – Perdidos na Estante Podcast – Cabulosocast Podcast – Curta ficção Campanha #OPodcastÉDelas Participe da […]
> LEIA MAIS: Caixa de Histórias 85 – Lobo de Rua
Comercial promove a M-Monochrom, uma camera que só tira fotos em P&B (e custa 8 mil dólares)
> LEIA MAIS: Liberte-se das cores: Leica enaltece o monocromático em nova campanha
Every day, digital publishers are challenged by the fragmentation of media. Third-party and social platforms appropriating content, mobile “snacking,” low-quality “clickbait” competition and content recommendation services that drive visitors off-site are just some of the factors depressing pageviews, engagement and monetization. For these reasons, many key publisher metrics are trending downward. According to ComScore, digital publishers now see only 1.7 pageviews on average and just 3.8 minutes on-site per session.
The good news is that the publishing industry has begun to align on a solution to the problem. Several leading publishers — from Jeff Bezos at The Washington Post, to the New York Times’ recent 2020 Report — have identified visual, interactive storytelling as the right strategy to engage modern readers, who no longer wish to engage with longform text. Here’s why.
The power of rich media
For people outside China, it can be difficult to understand how tight of a grasp the WeChat app has on people’s lives. The average user sent 74 messages a day on the app, WeChat parent company Tencent Holdings said last year. Half of users spent over 90 minutes a day using it.
WeChat is only six years old, but with 889 million monthly active users, it has transformed the way people in China interact, do business, read the news, buy things and pay their bills. It just did a little experiment to see what happens when people are forced to log off for 12 hours.
Tencent worked with Saatchi & Saatchi Guangzhou to film six short documentaries about the experience of people going cold turkey. The videos seem designed to remind people of how much they rely on WeChat, while encouraging them to disconnect sometimes to have more authentic human experiences. Yes, the company is apparently encouraging people to think about what WeChat addiction is doing to their lives.
A glamourização da guerra
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Ação #FreeTheFeed quer que as mães alimentem seus filhos sem culpa ou constrangimento
> LEIA MAIS: Agência instala seio inflável gigante em Londres para campanha pró-amamentação
Hospitals have learned to manipulate medical codes — often resulting in mind-boggling bills.
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