Hasta La Creative!

PornHub is back with some more safe-for-work ads. And this time, it’s facetiously trying to insert its brand name into the lexicon, by suggesting the phrase “Pornhub Premium” could become verbal shorthand for saying something is excellent.

The phrase pops up, much to the shock of those who’ve never heard it, in these three new spots, which involve non-porn subject matter like aged cheese, wedding finery and Los Angeles real estate.

McDonald’s actually tried the exact same approach in 2012 with the Egg McMuffin. In the case of PornHub, there’s extra humor in the surprised expressions on the actors’ faces, making it clear that this new particular slang isn’t going to catch on.

But the service itself might. Similar to Netflix, the premium streaming service will offer ad-free HD viewing, exclusive content and faster playback—for a monthly fee of $9.99. It’s not a new model, but it could be a successful one, especially if the exclusive content is as entertaining as much of the brand’s marketing has been.

Here’s a nifty way to get the average magazine peruser to put a product sample to good use.

Neutrogena and agency DM9DDB worked with Brazilian weekly Caras to create a special cover featuring actress Giovanna Ewbank. The issue also came with a set of Deep Clean wipes, so readers could rub the makeup off her face.

Studies have shown that when you actually touch and handle a product, you feel a connection to it and are even willing to pay more for it. Or, as DM9’s vice president of media Drian Ferguson puts it to Brazilian publication AdNews, “This interactive piece of press gives consumers the power to star in the campaign. They handle the product, test, prove and evaluate the outcome.”

Design Culture writer Diogo Mattos, for his part, calls the work an “innovation” that reflects what the future of magazine advertising could look like—specifically in the Brazilian market, where he believes executions like this are few and far between. (Our guess is Hansaplast’s foot magazine hasn’t made it into print there yet.)

In the Instagram video below, DM9DDB director Vitor Manzi demonstrates the campaign himself. One thing is for sure: The gunk that comes off is definitely true-to-life.

 

Direto do estúdio da DM9, o making off da divulgação da sobrecapa interativa de Neutrogena na Caras desta semana! Todas as assinantes (RJ e SP) irão receber um sampling do demaquilante Deep Clean e ao passar sobre o anúncio, a maquiagem da @gio_ewbank sai no lenço! Animal ver esse trabalho na rua! Valeu time J&J! #Neutrogena #DM9DDB #TimeJJ

A video posted by Vitor Manzi ® (@vitormanzi) on Jul 22, 2015 at 4:55pm PDT

Throughout his tenure as the host of the Daily Show Jon Stewart has loved lampooning one particular sandwich chain: Arby’s. Last night, during the second to last episode of his 16-year run, Arby’s took the opportunity to say goodbye, with a 60-second montage of Stewart’s best jokes about the brand.

While, yes, a clip show is probably the cheapest and lowest form of entertainment, it works here and not just because the brand is using the Golden Girls’ theme song.

It’s a savvy, self-deprecating move for Arby’s to embrace the value in Stewart gleefully joking about how terrible its product is—something most marketers would never do. At the same time, the spot is actually an opportunity to poke back at him a bit, by showcasing all of the free advertising his endless mocking has given the brand. 

In any case, tonight is Stewart’s last show—so he’s still got a chance to get in his last licks, if Arby’s is lucky.

Check out Arby’s goodbye below:

To promote its Sense8 series, created by the Wachowskis and J. Michael Straczynski, Netflix and production company Tool crafted  “Brainwave Symphony,” an electronica recording made in part by attaching electroencephalograph — or EEG — sensors to the heads of eight people who binge-watched the first season and then sat through a common set of visual and aural stimuli.

In a complex multi-step process, the Netflix team ran the different readouts — alpha, beta, delta, gamma, and theta, each with its own frequency range — through various audio processing to render a short musical theme for each person, and applied those melodies to a predetermined rhythmic structure, ultimately weaving the parts together into a full piece.

For the geeks among you (squarely in Netflix’s target here), the campaign website offers some more detail on the various technological aspects. A brief video summarizes the process, and Spotify is streaming the song itself.

The track certainly won’t grab you like a blistering summer pop hit, but it does have enjoyable enough moments as an ambient listening experience. In fact, whole project to some degree evokes GE’s habit of turning the sounds of heavy machinery into electronic music. Also, IBM’s campaign with James Murphy to turn U.S. Open scores and other tennis data from the tournament into computerized music.

Now, if only Heineken could just convince the MTA to let Murphy turn New York City’s Subway turnstiles into instruments, too.
 

Hunky football superstar Cristiano Ronaldo is immediately recognizable around the world (That gorgeous face!). But stuff him into a padded suit, add scruffy facial hair and ratty clothes and he can hang out undetected even in his bustling hometown. Even a soccer ball and fancy footwork can’t give him away.

That’s the setup of a just-launched video to announce the athlete’s foray into consumer electronics, namely headphones and portable speakers. Posted on Facebook, with no paid media push around it, the video has racked up  33 million views in two days. It also has nearly 900,000 shares, 1.4 million “likes” and 100,000 comments. At one point on Monday, the digital piece was attracting nearly 1 million views every half-hour, outpacing even YouTube’s “Ad of the Decade” with Lionel Messi and Kobe Bryant.

The four-minute video, shot in a busy plaza in Madrid, comes from Los Angeles-based Shareability, which is a co-owner with Ronaldo and Incubrand of the new ROC Live Life Loud brand. Execs there said a prank-style approach made sense for the famous Real Madrid forward.

“He’s a very serious guy who plays and trains 98 percent of the time, so we wanted to show him in a way he’s never been seen before,” said Tim Staples, one of Shareability’s founders. “We thought it would be really fun to take the biggest athlete in the world and hide him in plain sight.”

Ronaldo, like many U.S. entertainers before him, is wading into the hot tech and audio market. The new company has a partnership with manufacturer Monster, which is presently embroiled in a lawsuit against celebrity headphone pioneer Beats by Dre over Monster’s role in the design of Beats products—a fight that’s now also soured Monster’s relationship with Apple, Beats’ new owner.

In other words, Monster is chasing market share by pairing with another huge name, and all the cachet that brings. Though the U.S. may be flooded with gadgets like the one Ronaldo is now hawking, global territories where the soccer star is hugely popular have plenty of room for growth, Staples said. And Ronaldo’s 105 million Facebook followers have gotten the ball rolling, so to speak, proving that his nascent brand can make a name for itself without traditional advertising.

The headphones themselves, at $200 and up, aren’t exactly an impulse buy, so time will tell if the video’s popularity converts to sales. But the short film, even if it weren’t a commercial on the down-low, would have its own charm. One passing pedestrian refuses to give Ronaldo her phone number—she must really regret that now—and in the end, a beaming kid gets to unexpectedly meet an idol—not to mention the priceless look of confusion on his face when a bearded rando starts autographing a ball for him.

Check out a behind the scenes clip below. 

Leave it to a bunch of six-year-olds to put urban planning into perspective.

In honor of Singapore’s 50 years of independence from U.K. rule, Lego and creative shop Iris created an impressive model of the city, made of the toy brand’s tiles, representing what the metropolis might look like 50 years hence — then invited some kids to improve on it.

Today, Singapore is already an impressive, modernistic marvel. Shimmering skyscrapers thrust into space, and dense, complex grids snake through the concrete canyons below.

But the adults’ Lego vision of the city in 2065 takes things to an extreme you might see on the cover of a science fiction magazine. Many of the office towers resemble fearsome Transformer robots, as if poised to break loose from their foundations and set out on fantastical adventures. There’s an especially striking modular building with a black-and-white “dice” motif (ready, no doubt, to roll big in high-stakes games of future-commerce). Taken as a whole, the model looks a bit like a combustion engine, or circuit board — perhaps an energy grid — primed to power Singapore through 2065 and beyond.

The kids have other ideas.

These “future builders,” as the project’s three-minute “Lego SG100: Rebuild” video calls them, focus on what’s taking place closer to the ground. They create intimate, comforting spaces, like parks and playgrounds, that people of all ages can enjoy. Predictably, they tug at your heartstrings. A small girl builds a house next to an office so her dad can get home faster to play with her. Meanwhile one little boy notes that he “put them together with animals, so they can make friends,” says one little boy. “Dogs without friends are very poor things.” True enough. (And hopefully, Future Singapore will have strong leash laws.)

“It was fascinating to see what their priorities were for Singapore,” says Dan Luo, country manger for Lego. “Sometimes we might lose what is most important in the pursuit of development: spending time with loved ones, and taking care of our communities.”

Sure, it’s all a bit too precious, and, of course, and shameleslly manipulating our emotions. What did we expect the kids to build, a hoverport holo-tainment shopping-mall complex? (Frankly, I hoped that one of them would.)

Regardless, the film does an admirable job of illustrating that “home,” for kids of all ages, consists largely of the small pleasures that make each day a gift. While it is necessary for a city to build up and out — building inward is equally essential for nurturing progress.

Ultimately, cities failing to nourish the human spirit are poorly constructed — because their true building blocks are the joys and aspirations of the people who live there. And the dogs, too.
 

In case you weren’t feeling quite old enough today, the classic Michael Jordan vs. Looney Tunes drama Space Jam will celebrate its 20th anniversary next November.

But Nike’s newest ad, created by Wieden+Kennedy New York and starring Los Angeles Clippers forward Blake Griffin, is a fresh — and pointed — reminder of the 1996 film. 

“The Dunk to End All Dunks” doesn’t feature Jordan himself (though the classic Nike Air icon does get a passing nod), or alas, Bill Murray. But it does star one Marvin the Martian, who seems to think that the universe is only big enough for one “Earth-shattering” dunk master.

While Marvin has his share of space-age toys to help him reach the rim despite his diminutive three-foot frame, Griffin has his own secret weapon. Naturally, it’s a brand new pair of Jordan Super.Fly 4 sneakers, which launch this week.

The original Space Jam was the highest-grossing basketball film in history, having earned more than $90 million domestically in 1996 dollars (sorry, Hoop Dreams). So, the question follows: is a Space Jam 2 in the works? 

Warner Brothers strongly hinted at a “yes” by filing several new trademarks for the Space Jam brand in June, mere weeks before the studio announced a new “content creation partnership” with Jordan’s natural successor, LeBron James. The deal between James’ SpringHill Entertainment and the Warner Bros. family includes plans for “TV, film and original digital programming.“

LeBron recently proved that he can act by stealing several scenes in the Amy Schumer vehicle Trainwreck, and his company has already produced a TV doc series, a digital-only reality title, a “scripted drama on Starz” and an unnamed NBC prime-time game show.

When asked whether he would star in a potential Space Jam sequel during a Twitter Q&A last month, James teased fans with a “we’ll have to wait and see,” which could very easily mean “of course I will.”

Nike isn’t quite as shy. Along with this new campaign, the footwear giant created a microsite naming Marvin the Martian as a member of its extended family of athletes/spokespeople and tracing his plans to use the power of the Super.Fly 4 to destroy that “troublesome little planet” we call Earth once and for all (complete with his own merchandise). The inaugural ad for the new Air line was also directed by Jon Favreau of Iron Man fame, who might just be the perfect Hollywood lifer to helm a new big-budget basketball flick.

And what about Blake Griffin? He isn’t just Nike’s new spokesperson: he’s also performed at Hollywood’s Laugh Factory and made appearances on nearly every late-night show. At the very least, he should have a supporting role in a franchise that he calls “a big part of my life.” Right, Charles Barkley?

Even if the sequel doesn’t come to pass, get ready to see the Space Jam name and logo on everything from “comedy and/or drama features” to “lithographs,” “mounted and/or unmounted photographs” and “printed patterns for costumes, pajamas, sweatshirts and t-shirts,” according to the trademark filings. And per the Martian himself, we can expect more Blake-and-Marvin ads from W+K to launch before opening night.

This is just the beginning, Earthlings! -Marvin

— Jordan (@Jumpman23) August 2, 2015

CREDITS

Client: Jordan Brand   
Advertising agency: Wieden+Kennedy New York
Executive Creative Directors: Jaime Robinson, David Kolbusz   
Creative Directors: Jimm Lasser, Gary Van Dzura, Mike Giepert   
Art Director: Jed Heuer   
Copywriter: Al Merry, Laddie Peterson   
Producer: Alison Hill   
Assistant Producer: Kristen Johnson, Lisa Delonay   
Head of Integrated Production: Nick Setounski   
Account Team: Jerico Cabaysa, Jonathan Chu   
Media Team: Karlo Cordova, Justin Lam, Branden Bouvia   
Strategic Planner: Stéphane Missier    
Project Manager: Sunjoo Ryou   
Business Affairs Team: Sara Jagielski, Sonia Bisono, Carolina Hernandez, Lindsey Timko 
  
Production Company: Pacific Rim Films   
Director: Jon Favreau   
Executive Producer, UPM: Annie Johnson   

Editorial Company: Arcade Edit   
Editor: Geoff Hounsell, Will Hassell   
Executive Producer and Managing Partner: Damian Stevens
Executive Producer: Nicole Visram      

Visual Effects Company: The Mill, New York   
Executive Producer: Zu Al-Kadiri, The Mill   
Producer: Katie Kolombatovich   
Shoot Supervisor: Westley Sarokin and Ed Boldero   
Creative Director: Westley Sarokin  

Animation: Warner Bros Animation   
Producer / Director: Spike Brandt   
Line Producer: Monica Mitchell   
Animators: Spike Brandt, Dale Baer, Dan Haskett, John McClenahan, Jeff Siergey, Neal Sternecky, Bill Waldman, Dean Wellins   
 
Music Company: tonefarmer   
President/Partner/Producer: Tiffany Senft   
Founder/Composer: Raymond Loewy   
Composers: Jared Hunter, Sam Skarstad, Raymond Loewy   
Sound Designer: Jimmy Harned   
Production Manager: Elizabeth Munoz 

Mix Company: Sonic Union

Building on last week’s digital-dating print campaign, Calvin Klein is taking its #mycalvins play for the Tinder and Grindr generation into the live action realm.

A new spot overlays sexts onto the fashion category’s usual moody writhing — the brand claims the dialogue is based on “actual events and people,” which is easy to believe, given it includes lines like “come ovr”. (Gotta say, that kind of creative license has never gotten a writer off.)

Like the billboards, Mother New York created the spot, featuring international faces like Grace Hartzel, Ethan James Green, Aya Jones, Julia Van Os, Piero Mendez, and more. And while it’s easy to dismiss as merely tortured or sexually provocative, it does deserve credit for its recognition of diversity in many forms: It is hetero, gay, ethnically mixed and sexually open.

But it’s maybe most notable for how it masterfully illustrates the listlessness of a generation ruled by swipes, right or left. Even in sexual intimacy, these people don’t so much connect as graze, and the tyranny of a small text can result in either the happy arrival of a third partner, or a precipitated gathering-of-belongings before wandering off to the next hook-up. This is best exemplified by the conversation that concludes the piece.

“Why do we even do this?” an angsty male voice says into the ether.

“Because it’s fun, and you love it,” replies a woman whose aggressive tone suggests this isn’t actually about loving anything — it’s mainly about diversions.

Johannes Leonardo’s new “Superstar” campaign for Adidas, which features Pharrell and is centered around the Supershell collection he designed, claims to both democratize the idea of superstardom and make it less ambiguous.

Well, you can’t accuse them of aiming their sights too low, that’s for sure.

The first video in the campaign questioned the idea that fame is necessary for superstardom, and the more recent video, “Audience of One,” makes good on that premise by introducing a bunch of people no one has ever heard of as Pharrell-approved superstars.

They include American musician Pusha T, actor/director Grigoriy Dobrygin, Japanese designer Yoon, Chinese designers VJ Mian, and Mexican illustrator Smithe, all of whom state that they create purely for self-expression, with no desire for fame or glory. (Given that they’re all appearing in an ad for a global shoe brand featuring a major celebrity, they don’t seem too allergic to the idea of fame, though.)

One neat aspect of this campaign is the “pay it forward” component, wherein the five people I just named will shine a light on other creative people, forever marking them as cool via the hashtag #OriginalSuperstar. Who knows, perhaps future elements of this campaign might even focus on shoes in any significant way.

From HelloFlo founder Naama Bloom and writer Sara Saedi (who penned HelloFlo spots “Postpartum: The Musical” and “The Period Fairy”) comes another quirky, humorous look into the anonymous world of ladyparts problems.

Despite the fact that one in three women will suffer from bladder leakage in their lifetime, it’s one of those embarrassing subjects—like periods—that few people and even fewer advertisements like to talk about. By taking a humorous approach to a humiliating issue and allowing the target to laugh at the ad, and at themselves, the HelloFlo creative team has become a sort of pioneer in unmentionable lady’s health issues.

In this spot, for a product called the PeriCoach, we’re thrust into a meeting of Leakers Anonymous—a support group for ladies with bladder issues. Together, they admit their incontinence troubles, and then, out of the leaky darkness, their savior appears, replete with British accent and capable of laughing without peeing herself. She has been to the land of continence and returned with a PeriCoach, which, she explains in an immortal line, is “like a Fitbit for you vag.”

That’s right, if you’re crappy at Kegels (the pelvic floor exercises you’re supposed to do to tone your vag and get rid of incontinence), the PeriCoach will tell you what you’re doing wrong. It’ll also connect to your smartphone and give you reminders about when to train your vagina. About the only thing it won’t do is vibrate.

Of course, if the PeriCoach and its smartphone reminders aren’t motivating enough, you can go back and watch this video and forward to 0:54, where the mother of twins lifts her skirt to show off her padded granny panties. I’ll admit that the entire time I wrote this, I was Kegeling in sheer terror.

CREDITS
Production Company: Senza Pictures
Written by Sara Saedi
Produced by Brandi Savitt
Casting by Wulf Casting
Music by Flavor Lab
Creative Advisor, Naama Bloom

Cast
Beth: Susan Pasquantonio
Jane: Camile Theobald
Samantha: Leah Curney
Emily: Dana Gartland
Leaker #1: Daphne Bowers
Leaker #2: Oiaohong Zhu
Leaker #3: Polly Kreisman
Leaker #4: Rose Cordova

Crew
Director of Photography: Kip Bogdahn
Editor: David Fishel
Art Director & Costumes: Ally Nesmith
Sound Mixer: Wil Masisak

First Assistant Director: Lenny Payan
Production Coordinator: Julia Brady
Hair & Makeup: Kristen Alimena
Assistant Hair & Makeup: Lauren Citera
Script Supervisor: Zaïri Malcolm

Gaffer: GT Womack
Key Grip: Ben Hunt
Dolly Grip: Jim Tripp

Assistant Editor: Elizabeth Theis
Assistant Camera: Nate Slevin
Boom Operator: Matt King
Assistant Art Director: Nelson Mestril
Production Assistants: Jordan Floyd, Eric Cruz