Some precocious Maori children in New Zealand argue about whose dad is more irresponsible in this curiously amusing PSA about driving while stoned—the latest in a string of such ads from Clemenger BBDO for the New Zealand Transport Agency. Jalopnik promised that I would feel "all sorts of feels" while watching the ad—and I probably would if I could understand more than one-third of what the kids are saying. Still, the approach is interesting. Using humor and a light touch is certainly preferable to shock tactics like hitting little girls with cars. This spot was shot on 35mm black-and-white film by Taika Waititi, whose short film Two Cars, One Night also featured kids chatting in cars. Below, check out another recent ad in the series featuring shopkeepers complaining about customers who come in high.
Virgin Mobile has been retraining your brain for a while. Now, it wants to borrow your eyes.
In a fun stunt called BlinkWashing from Mother New York and rehabstudio, the mobile carrier makes its sales pitch in 25 separate but linked YouTube videos—which you control simply by blinking. (The site uses your webcam to find your eyes, and then accurately detect your blinks.) The best part is, all the videos are time-coded and "smart cached," so that when you blink, the next video's dialogue picks up where the previous one left off. In other words, blink and you won't miss it.
The videos themselves offer an impressive assortment of oddball characters and scenes. There are even Mother employees featured in the spots: Gabriel Blido, sporting his astounding mustache, and Debra Dean, who shows off her hip-hop dancing skills.
Grey New York and MJZ director Nicolai Fuglsig's "Inspired" spot for Canon won the 2013 Emmy Award for Outstanding Commercial on Sunday at the 65th Annual Creative Arts Emmys. The win ended a streak of four straight victories for ads created by Wieden + Kennedy. W+K had a horse in this year's race, too—Nike's "Jogger." The two other nominees this year were Google Chrome "Jess Time" by BBH and Google Creative Lab and Grey Poupon's "The Chase" by Crispin Porter + Bogusky.
McDonald's and Burrell Communications update a classic Super Bowl spot from 1993, pitting Joe Flacco of the Baltimore Ravens and Colin Kaepernick of the San Francisco 49ers, the opposing quarterbacks from the big game in February, against each other in a contest for the chain's Mighty Wings. Their competition features improbable passes through distant goalposts. First one to miss watches the winner eat.
The original commercial starred Larry Bird and Michael Jordan playing a game of Horse for a Big Mac. Their increasingly crazy contest took them from a basketball arena to the top of Chicago's Sears Tower as Jordan called a fantastical shot: "Off the expressway, over the river, off the billboard, through the window, off the wall …"
That tale was self-contained, and fittingly, there was no winner, giving the impression that the two titans would battle for all eternity, ultimately bouncing balls off the moon and stars in their quest for a burger. (Luckily, McDonald's food would still be in decent condition no matter how long they played.) The reboot has two parts. The first 30-second installment (posted below) breaks on TV tonight and ends on a cliffhanger, as a power failure throws the quarterbacks into darkness—"Oh man, not again!"—and someone apparently tries to make off with their box of wings. Who could it be? Jordan and/or Bird? Tim Tebow? Miley Cyrus? (OK, we know it's not Tebow.) The revelation comes in Part 2, set to air Oct. 6.
Marlena Peleo-Lazar, chief creative officer at McDonald's USA, calls the remake "a fresh take on an idea our customers have loved, but in a sport they haven't seen us do it with." That's all well and good, and the effort is certainly getting buzz. Still, a remake with stars from a different sport was hardly necessary. And regardless of the big reveal, and even with original director Joe Pytka behind the camera, it was doomed to pale by comparison with the original commercial.
Don't get me wrong. The new ad is well-made and amusing … but Bird and Jordan, in this context, cannot be replaced. They were more than great athletes. They were transcendent figures who helped define the popular culture of their generation. Flacco and Kaepernick are gifted on-field performers, and seem like nice enough guys, but they lack the stature and quite frankly, the charisma of their predecessors. The 1993 spot felt right because you really could picture Larry and Michael playing a little one-on-one for their personal edification, sans cameras, ribbing each other for each missed shot. Flacco and Kaepernick, well, I guess they'd have a throwing contest if McDonald's paid them lots of money to do it in a commercial.
Plus, the blackout, echoing the one that stopped Super Bowl XLVII for 30 minutes, and the "To be continued" aspect feel like cutesy gimmicks added to compensate for the new spot's inability to match up to its inspiration.
If Bird and Jordan don't make an encore appearance in Part 2, it would be disappointing, because that's what the setup demands. If they do, it could seem pat and predictable. The original was nothing but net. So far, the remake feels like an incomplete pass.
Actress and comedian Rebel Wilson is a quirky rule breaker, so why should she adhere to some old-school network-TV model for promoting a sitcom? She shouldn't, ya hear? Regular 30-second promo spots? Pshaw.
Wilson, who stars in, writes and co-executive produces ABC's upcoming series Super Fun Night, conceived the idea of a full-length music video to hype the show. The Aussie, who broke out to U.S. audiences in Pitch Perfect and Bridesmaids, wanted to show her vocal chops and give a snapshot of the lovable nerdiness of the fall comedy, which isn't, in fact, a musical. It is, however, self-deprecating in the extreme, with Wilson coining the term "eye broccoli" to describe herself and her pals in the pilot.
The music vid, from Stun Creative, a Los Angeles marketing and promo shop that's now producing its own original content, uses Queen's anthemic "Don't Stop Me Now" to let Wilson and co-stars strut, sing, pose and perhaps stand out from the pack of new TV series debuting in the coming weeks.
Super Fun Night revolves around Wilson, a Manhattan office worker sporting an American accent, and her longstanding weekly date nights with her two geeky besties. Catch the awkward hilarity starting Oct. 2.
BBH London expands its "We Own the Weekend" campaign for the Guardian and Observer's Saturday and Sunday newspapers with a pair of dark-humored spots that focus on the "Tech Monthly" and "Cook" supplements. In one spot, a guy is unable to control the destructive force of his high-tech "MegaGlove"; in the other, a woman's hosted luncheon ends poorly for all involved. Ah well, if it bleeds, it leads.
"If our initial campaign was designed to inform the public that the Guardian and the Observer own their weekend, this follow-up dramatizes the repercussions of resistance," says David Kolbusz, deputy executive creative director at BBH. "When you try to own your own weekend, things can turn out very badly. Frankly, I feel sorry for anyone who doesn't buy their papers."
The work maintains the high quality of the three-minute January launch film starring Hugh Grant. Still, I can't help feeling it's all for naught. No matter how smart its marketing gets, the newspaper business long ago got "owned" by digital media—every day of the week.
Credits below.
CREDITS Client: Guardian and Observer Director of Brand and Engagement: Richard Furness Head of Marketing and Engagement: Toby Hollis Product Marketing Manager: Charlotte Emmerson
Agency: BBH London Creative Team: Gary McCreadie, Wesley Hawes, Matt Fitch, Mark Lewis Deputy Executive Creative Director: David Kolbusz Producer: Chris Watling Strategic Business Lead: Ngaio Pardon Strategy Director: Agathe Guerrier Strategist: Alana King Team Director: Jon Barnes Team Managers: Fiona Buddery, Jonny Price
Production Company: Biscuit Director: Jeff Low Executive Producer: Orlando Woods Producer: Kwok Yau Director of Photography: Ed Wild Postproduction: The Mill Editing House: Final Cut Editor: Ed Cheeseman Sound: Factory Sound Engineer: Sam Robson
Contradiction is the key to this brilliantly graphic online spot for Poo-Pourri, a toilet spray that eliminates odor. They took a beautiful woman with a refined British accent and gave her a complete potty mouth. From the moment she admits she just "birthed a creamy behemoth from [her] cavernous bowels," I was glued to my seat. In fact, the Poo-Pourri girl spent two days sitting on that toilet for the spot, discussing her tenacious skid marks and being licked by cows. But it's not all shits and giggles. She also dumps a steaming load of information on us, with explanatory poop-related animation. It needs it, because Poo-Pourri (yes, it's a real product) is the only toilet spray that you use before you pinch a loaf—a difficult concept for those of us used to aerosol sprays and old-fashioned matches. The spot, which has topped 1.5 million YouTube views in three days, is courtesy of the Harmon Brothers, two guys who launched their own product, Orabrush, before moving on to handle Poo-Pourri's marketing with even more style. Smart move. Poo-Pourri will come out smelling like roses if the product is half as winning as the Poo-Pourri girl. Credits below.
CREDITS Director, Writer: Joel Ackerman Additional Writing: Daniel Harmon, Jeffrey Harmon Producer: Tess Kelly Director of Photography: Tel Stewart Poo-Pourri Girl: Bethany Woodruff Boyfriend: Jordan Hunter Editor: Tel Stewart Artwork: Daniel Harmon, Nicole Story Animation: Tel Stewart Dress Created by: Nicole Story (amazing Poo-Pourri employee!) Makeup, Hair: Michelle Miles Gaffers: Tyler Stevens, Kelsie Moore Set Construction: Jonas Sappington, Dallin Blankenship
After years of the hard sell, some regional and national retailers are actually trying to build brands. Last month, Men's Warehouse jettisoned its bearded chairman from its advertising (after jettisoning him from the company) in favor of a music-driven approach. And last week, Sleepy's put its first outside agency to work with playful new ads. Now, Burlington gets a brand makeover in a character-driven campaign from Silver + Partners.
Directed by Harold Einstein, TV ads feature adults in public spaces oddly voicing their internal thoughts about their clothes and what they represent. And while the clothes don't make the man (or woman), they may reflect his or her personality—at least according to the campaign. Each ad segues from a series of verbal thought balloons to pop-up images of clothes and a male voice that says, "Style says it all." Oh, and there's a bit of hard sell via on-screen copy that notes, "Up to 65% off department store prices every day." The tagline: "Style is everything."
The effort broke this week and follows a similar push by the retailer for back-to-school clothes in ads featuring kids speaking their minds—via internal voices, this time—as they view themselves (and their clothes) in the mirror. Best of that bunch: a boy in a striped shirt and jeans who thinks, "I'm about to go ninja in here," before he strikes a karate pose.
CREDITS Client: Burlington Campaign: "Style Says It for You Agency: Silver + Partners Chief Creative Director: Eric Silver Creative Director, Copywriter: Ashley Marshall Creative Director, Art Director: Jaclyn Rink Crowley Managing Director: Michael Stefanski Account Director: Lauren Pollare Senior Producers: Chris Thielo, Terry Brogan Production Company: Station Film Director: Harold Einstein Managing Partner: Stephen Orent Executive Producer: Eric Liney Editorial: The Now Corporation Editor: Jesse Reisner Executive Producer: Nancy Finn Post, Finishing: Suspect Managing Partners: Rob Appelblatt, Tim Crean Director: Hoon Chong Creative Director: Colin McGreal Director of Photography: Evan Cohen Producers: Tsiliana Jolson, Kevin Daly, Alexander Decaneas Lead Animator: Damien Cho Lead Flame Artist: Brendan O'Neil Telecine: Co3 Colorist: Tim Masick
CREDITS Client: Burlington Campaign: Back to School Agency: Silver + Partners Chief Creative Director: Eric Silver Creative Director, Copywriter: Ashley Marshall Creative Director, Art Director: Jaclyn Rink Crowley Managing Director: Michael Stefanski Account Director: Lauren Pollare Senior Producer: Chris Thielo Production Company: Coverdale Director: Amir Farhang Executive Producer: Andy Coverdale Editorial: The Now Corporation Editor: Jesse Reisner Executive Producer: Nancy Finn Post/End Tag Animation: Hornet Inc. Designer: David Hill Executive Producer: Jan Stebbins Producer: Cathy Kwan Post/Finishing: Suspect Producers: Tsiliana Jolson Telecine: Co3 Colorist: Tim Masick Audio Mix: Sound Lounge Mixer: Tommy Jucarone EP: Vicky Ferraro
BETC and Canal+ together produced one of the most beloved ads of recent years in "The Bear," a hilarious and impeccably produced spot that won the Film Craft Grand Prix at Cannes in 2012. The French agency and client are now back with their latest commercial—an intriguingly odd production starring a bunch of dwarf clowns.
Why dwarf clowns? The spot promotes a new Canal+ channel, launching this month, that's fully dedicated to TV series. The great thing about TV series is you're always dying to see what happens next. Likewise, in watching this ad, the viewer has no idea who these dwarf clowns are, or what they're going to do next. And then, at the end, it turns out, rather absurdly, that they've been subjected to a cliffhanger themselves, which explains their peripatetic behavior.
"The idea was to make an intriguing film that creates suspense—you can't wait to find out how it ends. Just like when you watch a good series," says Stéphane Xiberras, president and chief creative officer of BETC Paris. "This was one of the reasons we chose dwarf clowns; in great series there's often something a bit odd about the unusual characters that makes you become attached to them—a cop serial killer, a depressed mafioso, a family of undertakers."
The spot was shot in Vancouver this summer. It was directed by Steve Rogers and will be followed by an outdoor campaign all over France. Credits below.
CREDITS Client: Canal+ Client Management: Alice Holzman, Elodie Bassinet, Anne-Gaëlle Petri, Coline André Agency: BETC Paris Agency Management: Bertille Toledano, Guillaume Espinet, Alix de Luze, Pauline Filippi, Marius Chiumino Executive Creative Director: Stephane Xiberras Copywriter: Jean-Christophe Royer Art Director: Eric Astorgue Assistant Art Director: Damien Binello Strategic Planning: Clarisse Lacarrau, Vianney Vaute Traffic: Coralie Chasset TV Producer: Isabelle Menard Production Company: Wanda Producer: Jérôme Denis Sound Production: Kouz Director: Steve Rogers
Fresh from his U.S. Open triumph, Rafael Nadal comes on like the candy man in ESPN's latest tongue-in-cheek SportsCenter spot from Wieden + Kennedy in New York. Network personalities John Anderson and Bram Weinstein just can't figure out why Rafa is such a chick magnet around the ESPN offices. Could it be his tan? His dimples? Keep your shirts on, gentlemen, because the answer comes at the end, when we learn that it's the sweet, sweet stuff in Nadal's big, shiny cup that keeps them coming back for more. Roger Federer's commercial performances, even when he's pimping Lindt chocolates, are never as tasty.
UPDATE: AT&T's CEO has added his own apology. Scroll down to see it.
After getting bombarded with hate tweets for about an hour this afternoon, AT&T removed an image from Twitter that had been meant as a 9/11 tribute—a photo showing a hand holding a phone up in front of the Tribute in Light searchlights. "We apologize to anyone who felt our post was in poor taste. The image was solely meant to pay respect to those affected by the 9/11 tragedy," the company wrote in a follow-up tweet. (As of this writing, the photo remained up on AT&T's Facebook page. UPDATE: The photo was removed from Facebook as well, about another hour after the tweet came down.) An AT&T spokesman later reiterated that same statement when reached by Adweek.
The episode highlights yet again the difficult task of doing any corporate messaging around 9/11. For AT&T, Wednesday's reaction on Twitter was an especially stinging rebuke, considering the company posted quite a similar style of photo last year on 9/11—and got much better feedback.
The difference? Last year's image showed the Freedom Tower, and the headline read, "Standing tall." It was simply a more forward-looking, patriotic execution. The Tribute in Light is a more sacred image, and this year's headline, "Never forget," is incompatible with any hint of a sales message, even one as simple as the image of a phone.
In the end, 9/11 may not be totally off limits to brands—American Express and many others posted well-received tweets today. But you'd better be careful, especially if you want to throw a product in there, too.
We apologize to anyone who felt our post was in poor taste. The image was solely meant to pay respect to those affected by the 9/11 tragedy.
UPDATE: AT&T's chairman and CEO, Randall Stephenson, has now posted his own apology on the company's blog. It reads:
We're big believers that social media is a great way to engage with our customers because the conversation is constant, personal and dynamic. Yesterday, we did a post on social media intended to honor those impacted by the events of 9/11. Unfortunately, the image used in the post fell woefully short of honoring the lives lost on that tragic day. I want to personally express to our customers, employees, and all those impacted by the events of 9/11 my heartfelt apologies. I consider that date a solemn occasion each year, a time when I reach out to those I was with on that awful day, share a moment of reflection for the lives lost and express my love of country. It is a day that should never be forgotten and never, ever commercialized. I commit AT&T to this standard as we move forward. —Randall Stephenson, AT&T Chairman and CEO
The full run of Breaking Bad is coming out on Blu-ray soon after the AMC series wraps up. And if you're enough of a fan to spring for the special-edition box set, it's packaged in a replica money barrel. Not only that, it comes with a Los Pollos Hermanos apron and enough special features—a documentary on making the last season, commentaries on every episode, etc.—to choke Jane Margolis. You can pre-order the set on Amazon, but be warned: It costs at least half a money barrel right now.
Robert De Niro narrates this new spot for the National September 11 Memorial & Museum, encouraging viewers to "take a day to remember" that morning 12 years ago, when thousands of men and women died in the heart of New York City—and "to honor the best in humanity that overcame the worst." The spot, created pro bono by BBDO, New York, will air on donated media throughout the week. The campaign also includes print, outdoor, digital and video advertising and points to 911memorial.org to learn more. Credits below.
CREDITS Client: The National September 11 Memorial & Museum Spot: "Day to Remember"
Agency: BBDO, New York Chief Creative Officer: David Lubars Executive Creative Directors: Greg Hahn, Mike Smith Associate Creative Director, Art Director: Marcel Yunes Associate Creative Director, Copywriter: Rick Williams
Group Executive Producer: Julian Katz Senior Integrated Producer: Neely Lisk Executive Music Producer: Rani Vaz
Account Director: Neil Onsdorff Account Executive: Jennifer Sullivan
Production Company: Brand New School Executive Creative Director: Jonathan Notaro Managing Partner: Devin Brook Head of Production: Julie Shevach Art Director: Kris Wong Animators: Morten Christensen, Peter Harp, Jim Forster Flame Artist: Mark French Producer: Joe Balint
Here's your curious advertising case study of the day. Food-delivery app Eat24 has written a lengthy blog post detailing, from start to finish, why and how it went "where no marketing team has gone before. Well, at least not without clearing their browser history afterward."
Eat24, which apparently had something of a following among porn stars already, decided to advertise on adult websites. Its rationale? Almost no mainstream brands want anything to do with the XXX world. And yet the traffic figures are through the roof, and the CPMs are low. What's not to like?
The idea: "If you ever take two seconds out of your naughty time to glance at the ads on porn sites, you'll notice that 99% of them are for more porn. It's a world where no one besides male enhancement pills and adult friend finders have dared to go. Not a single mainstream brand advertising there. We could be that 1%."
The creative: "We wanted to make a connection between the pleasure you feel when eating a bacon double cheeseburger, and the pleasure of having sex. Everyone knows nothing makes people want to order food more than pictures of food, but we had to be careful with our dish selection. The sight of a seductive salmon skin roll next to a naughty nurse video might enhance the whole experience, while a hearty plate of chicken tikka masala might turn you off entirely, except in certain fetish categories. We need food that puts you in the mood."
The results: "No matter what metric you want to use to define success, our campaign kicked ass all the way across the board. Impressions? Our porn banner ads saw three times the impressions of ads we ran on Google, Twitter and Facebook combined. Click through? Tens of thousands of horngry Americans clicked our ads. Yeah, but did they convert? Psshhh, please. We saw a huge spike in orders and app downloads during the time our ads were live, especially late at night when that insatiable desire for DP (double pepperoni) is at its most intense. Did we mention the cost? We did? Well, it bears repeating. We were able to achieve the stellar metrics mentioned above all for the low low price of 90% less than what the big guys charge per 1,000 impressions. That's right, we saved 90%. Nine zero."
I sometimes think billboards are watching, beaming out messages meant just for me. Then I get back on my meds, and everything seems fine. Anyway, BMW's Mini, as part of its "Not Normal" campaign, worked with agencies Iris and Vizeum over the summer to personalize content to drivers of its cars on nine consecutive digital billboards along a busy London motorway. Spotters armed with iPads identified approaching Minis, and the text and images on the boards were then tailored to the individual cars. Drivers' photos were even flashed on signs further up the road. Offers of commuting snacks, car washes and flowers were also in the mix. For example, a driver in a grey Mini drove past successive signs that read, "Early start, Mr. Grey Mini driver? … Need a pick me up? … Fancy a tasty bacon butty? … Mini's buying … See you at the next garage." Nearly 2,000 Mini drivers received such personal greetings in a week. All those folks driving Vauxhalls probably felt sullen and neglected. But that's nothing new for them, now is it?
Running-shoe brand Pearl Izumi recently learned, as we all must, that "Run until you kill your dog" isn't a message the public is ready to accept. This print ad, which is part of a campaign that includes a video, has been the target of much consumer umbrage since it appeared in Canadian Running magazine, and rightfully so. Images like that alienate people, and worse, they might prompt Sarah McLachlan to lecture us about giving to the ASPCA. Pearl Izumi has apologized at length, saying the ad "overstepped the bounds of good taste. A lot." The company also made a $10,000 donation to the Boulder Valley Humane Society.
Ad agency RPA in Santa Monica, Calif., suddenly has quite the conversation starter in its lobby: a data-driven light sculpture called The Listening Cloud that visualizes social-media conversation about the agency's clients in real time.
The cloud listens to the Internet and "storms" with different multicolored lightning, corresponding to the various social-media channels, whenever clients like Honda, La-Z-Boy or Farmers Insurance are mentioned. Red lightning is for Facebook likes; purple is for Instagram mentions; and blue is for Twitter. The cloud glows white during moments of social-media silence.
"We wanted to build something that could show what's happening in the social-media 'cloud' in real-time, not as data or a visualization on a screen, but as a fun, sensory, physical thing," says Perrin Anderson, creative director at RPA. "We hope that others will share their ideas on the marriage of creativity and data by using the hashtag #ListeningCloud on their social accounts."
"Custom software pulls in real-time data from the Facebook, Twitter and Instagram public APIs, then sends commands through a wireless bridge to LEDs inside the cloud, visualizing the data through different light colors and behaviors," says the agency. "It uses the Phillips Hue lighting system and its RESTful API, which allowed software to be coded using Node.js to communicate with the lighting controller. A Web-interface on a nearby monitor lets viewers choose what they'd like the cloud to 'listen to' and also displays a raw, real-time feed of the data it's processing."
The semi-sentient cloud should get together with the Guinness cloud and go out for beers. See the RPA cloud in action in the videos below.
Big players like Dunkin' Donuts, Nissan and Virgin Mobile have all either aired TV spots created on the Twitter-owned six-second video platform or plan to do so. The ad business is all about bandwagons, so expect just about every other marketer to hop on soon.
Trident launched a Vine spot on Fuse last night that will air 100 times in the next two weeks. The clip stars 24-year-old Brooklyn musicians Nicholas Megalis and his partner Rudy Mancuso (the David Ogilvys of Vine!) performing a jaunty jingle: "Layers of flavor, that's how the world gets paid. Strawberry, citrus, grape, lemonade!" (The Stephen Sondheims of Vine they're not.)
It's basically two dudes goofing around, singin' about gum. Nothing wrong with that. And Vine is so condensed, there's no time to waste. It's a quick burst of sound and motion, an image or two, some keywords, a social call to action … BAM! That's all you get. (Of course, this is really just a millennial spin on old-school advertising, complete with a catchy tune and the hashtag standing in for the tagline. But let the babies think they've discovered something new.)
Brevity usually raises the bar for creativity, forcing artists to finely hone their ideas, so Vine's transition into the mainstream could herald a super-short-form commercial renaissance, with lots of experimentation and mind-blowing approaches to come. Then again, I could see this trend going in an anti-creative direction, which is, in fact, hinted at in the Trident spot. Two of its four seconds simply show packages of gum and the #paymeinlayers hashtag.
Will marketers at some point just start tossing up six-second still product shots, perhaps with snatches of music and some lighting effects, and trumpet these unmoving video billboards as the next step in Vines? Will they create clips with bikini babes cradling their products while hashtags flash incessantly? Or pose the babes atop muscle cars, pickup trucks, home electronics and who-knows-what-else in six-second distillations of every shlocky commercial ever made? Will they run six brain-dead Vines in a row to fill traditional 30-second slots?
Marketers always stress creativity, foster innovation and take the high road, so I'm sure we've got nothing to worry about. Right?
A Wisconsin golf course posted an apology on Facebook late Monday for a newspaper ad pledging to commemorate 9/11 with an offer of "9 holes with cart for only $9.11." The ad for Tumbledown Trails Golf Course, which reportedly ran in Monday's Wisconsin State Journal, offered the $9.11 rate (or $19.11 for 18 holes) only on Wednesday, Sept. 11, to honor the 12th anniversary of the terror attacks on New York and Washington.
As the ad spread online, critics came out in droves, sparking two apologies from the business on Facebook. First, the course said it would raise the rate back to normal and donate the difference to the National September 11 Memorial. A follow-up comment pleaded, "We are a family owned business & proudly support all local charities and have always gave 20% off everyday to all Police, Fire, Emergency, Military, etc. Please accept our apology." Finally, in a third Facebook update, the course said it might simply close on Wednesday because "we are now worried about what people will do/say to our staff & do not want anything to happen or get out of control."
Your cat loves board games, just not the same way you do. Your beloved feline wants to scatter all the pieces and then park her furry bum in the middle of the action, regardless of your intention to flirt with your Mystery Date or figure out if Miss Scarlett really did it in the library with a candlestick. Hasbro gets it. For its iconic Monopoly game, the toy giant crowdsourced a new player piece earlier this year to replace the long-maligned iron. Not surprisingly, the cat won, joining the race car, battleship, thimble, top hat, shoe and Scottie dog. Finally, pet parity! For the debut of this new token, Hasbro is launching the ad below, showing us why the sleek little silver version is a much better choice than the real thing for family fun night.
This is site is run by Sascha Endlicher, M.A., during ungodly late night hours. Wanna know more about him? Connect via Social Media by jumping to about.me/sascha.endlicher.
