James Franco Wrote a Long, Strange Ad for McDonald's in the Washington Post

“When I needed McDonald’s, McDonald’s was there for me. When no one else was.”

James Franco offered an unlikely endorsement of the fast-food chain Thursday—at a time when its treatment of employees is under scrutiny—by writing a Washington Post op-ed in which he fondly recalls working there as a struggling actor in the ’90s.

It was 1996. Franco had dropped out of UCLA, against his parents’ wishes, and was trying to pay his own way while sleeping on a couch in a Los Angeles house with two other actors.

“Someone asked me if I was too good to work at McDonald’s,” writes Franco, now 37. “Because I was following my acting dream despite all the pressure not to, I was definitely not too good to work at McDonald’s. I went to the nearest Mickey D’s and was hired the same day.”

And he has quite the stories from the job—how he worked on different accents while manning the drive-through; how he was hit on by a male co-worker who didn’t speak English; how he started eating leftover cheeseburgers even though he’d been vegetarian; how “everyone ate straight from the fry hopper.”

The essay is nostalgic and anecdotal. Yet it’s likely to get some serious attention in part because of McDonald’s current battle with employees over wages. The chain plans to raise the minimum wage for its workers by more than $1, to $9.90, by July 1. But many workers say that’s just not enough. It also says it will to sell off some franchises, so that it won’t have to pay as many workers that increased wage.

Franco acknowledges all of this, and is clearly rooting for the company. “How this cost cut will affect jobs remains unclear,” he writes. “But I want the strategy to work.”

In closing, Franco states plainly that he was “treated fairly well at McDonald’s. If anything, they cut me slack.” And yes, he still eats there, every once in a while.

“After reading Fast Food Nation, it’s hard for me to trust the grade of the meat,” he writes. “But maybe once a year, while on a road trip or out in the middle of nowhere for a movie, I’ll stop by a McDonald’s and get a simple cheeseburger: light, and airy, and satisfying.”

His thoughts on the new Hamburglar remain unclear.



McDonald's Has Brought Back the Hamburglar, and It's All Anyone Can Talk About

McDonald’s has brought back the Hamburglar, and he might steal your heart.

That’s the view of half the Internet, anyway, as the chain unveiled the new version of the character Wednesday—a masked man who is either hot, creepy or a WWE wrestler, depending on whom you ask.

Ronald McDonald got his own makeover last year, but the Hamburglar’s is more extreme. (He used to look like this.) And his upgrade seems to be this week’s Dress debate.

Check out some of the reactions below. 

 
Some people think he’s hot… 

 
Others think he’s creepy…

 
And one WWE wrestler had to clarify that he is not, in fact, the new Hamburglar…



Mini Partners With a Towing Company to Give Test Drives to Stranded Motorists

Mini Cooper is out with an awesomely ruthless new ad, set in Singapore, that shows the automaker tricking people into test driving its product—by teaming up with a towing service and giving loaners to stranded motorists.

The consumer testimonials are dubious (as they tend to be in stunt videos like this). But real or fake, the ad makes quick work of indirectly digging at competitors, simply by showing Mini providing real utility in an inevitably frustrating situation.

Adweek responsive video player used on /video.

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There’s also the implication of superior reliability—note the prominent Mercedes-Benz logo in one sad shot of a car lying dead on the side of the road. If that doesn’t drive home the point—that when other brands fail you, Mini won’t—the ad’s kicker does, with an excellent bit of snark. (Wishing the other cars a “speedy recovery” is tantamount to hustling them along to the junkyard.)

Still as fun as Mini would like you to think its cars are to drive, comparing them to go-karts might not be the best way to reinforce a message of dependability. But it’s nice to see a brand swoop in like a vulture to scoop up a rival’s business when it’s at its most vulnerable.

Now, it needs to start showing up at poorly marked no-parking zones, too.

Agency: Kinetic Singapore.



McDonald's Invented This Clever Takeout Bag That's Also a Tray

Here’s a nifty invention for people brave enough to eat McDonald’s—the new “BagTray” from DDB Budapest.

It is, as it sounds, a bag that’s also a tray. Just tear off a tab at the bottom of the brown paper bag, pull off the top and watch the whole thing turn into a cardboard tray that will reduce the odds of spilling your oversized soda all over the back seat of your car, or your laptop, or the lawn where you’re having a picnic (though surely the ants would love that).

Hopefully, you also won’t have to worry about the grease from your fries soaking through a flimsier vessel and dumping its golden payload on the floor, ruining your day and staining your property (though odds are there’s enough oil packed in there to eat through foamcore).

The product name is more or less perfect, clear and direct but also just the right amount of silly. It helps that the graphics in the demo video are charmingly twee, in a corporate sort of way—even if the willfully quirky ukelele-and-whistling-and-handclaps soundtrack wants so badly for you to be happy that it might make you claw your ears off instead.

Regardless, whether you’re a mom feeding her kids while shuttling them around (though she’s still pretty blasé about tilting the whole thing) or a cool kid just hanging out with your friends on your skateboard (are teenagers really that polite these days?) or a busy business executive cramming in lunch at your desk (that guy totally looks like he works at the ad agency), it’s clear the BagTray is the bag/tray for you.

Whether the tool actually works is probably a different question. And it’s also not clear whether you can use one without going to Hungary, which sort of undermines the whole convenience factor.

CREDITS
Client: McDonald’s
Agency: DDB Budapest
Chief Creative Officer: Péter Tordai
Head of Art/Art director: Guilherme Somensato
Copywriter: Vera Länger, Giovanni Pintaude
Illustrator: Adrián Bajusz
Product Designer: Márk Dávid, András Bálint
Animation: Réka Horányi, Anita Kolop
Business Director: Judit Majosi
Account/Producer: Rozália Szigeti
Promo film: Somnium Studio



Samsung's #TextsFromMom Campaign Brings Welcome Laughs This Mother's Day

Mother’s Day has become one big cryfest for advertisers—a time to see how choked up they can make viewers. That kind of sentimentality is fine, when communicated well, but there’s definitely weep fatigue setting in. Which is why this Samsung ad, “#TextsFromMom,” is a such a breath of fresh air.

The R/GA spot looks at how your mom probably uses text messaging—or rather, misuses it. The whole thing is pretty funny, and nicely pokes fun without getting too mean. And it sticks the landing by reminding you that you shouldn’t be texting with Mom at all this Sunday.

You’ll also notice that some of the moms’ phone numbers are visible in the spot. If you dial them, you get to hear what they have to say in their voicemail messages.

You can also show off your mom’s funniest texts using hashtag #TextsFromMom for a chance to win a Galaxy S 6 edge.



Cocktail Bar's Gin-Bottle Swimmers Honored as the Year's Best Package Design

A tiny cocktail bar in Barcelona has won best of show at The Dieline Awards 2015, honoring the world’s best packaging, for its gin bottles showing swimmers cavorting in the stuff.

Barcelona design studio Dorian made the bottles for Bar Pesca Salada, an old fish shop converted into a maritime-themed gin-and-tonic bar. Each bottle features a man appearing to swim in the gin—and it becomes a visual game as the bottle empties.

Dorian also screen-printed the images on the bottles, rather than using a transparent label.

See the rest of the Dieline winners here.



Coca-Cola Demands You Choose Happiness in This Gritty Anthem Ad for Europe

Coca-Cola isn’t just a soft drink. It’s an essential part of the human experience—the key to true happiness—says a grand new ad from the brand in Europe. So, suck up your laziness and bootstrap yourself some soda.

The 70-second anthem by Ogilvy & Mather Amsterdam (it’s the office’s first work for the brand) introduces a new theme, “Choose Happiness,” and continues Coke’s tradition of casting itself as synonymous with joy. But it takes a more aggressive tone than usual. Not only can you be happy, you should be happy, right now, and all you have to do is reach out and grab it. That Coke, right there on the shelf, that is.

Set to a song and rap by Amsterdam-based HT, the spot (plus a more exhausting, full-blown branded music video, complete with an indecipherable hook) argues that happiness is a choice. Which is sort of true in some contexts, but is also oversimplified advertising-speak.

The broad-reaching argument rests in large part on urging you to consider all the dandy things your hands can do. They can make beats, and hold jump ropes, and give hugs. (Incidentally, Coke would also like you to know your hands can make the shape of Coke bottles, if you join them together with other hands.)

The spot deserves credit for including moments that aren’t totally pollyanna—there’s a lover’s spat, and even a pseudo-political statement encouraging protest. But it’s also a bit divorced from reality. If you have a hard time smiling with a face full of pepper spray, try washing that down with a Coke—it might settle your stomach, too.

Naturally, what Coca-Cola really means by “Choose Happiness” is that you should choose among the red, green, black and white versions of its product. The branding at the end of the spot includes four bottles—representing Coke’s Classic, Life, Zero and Diet offerings—part of a new European strategy to lift the profile of the smaller brands by attaching them to marquee advertising.

That may or may not work, but the creative approach in the anthem spot stems from a familiar problem for any soda marketer: It can’t pitch the product on the grounds that you actually need it, so it has to manufacture your desire as well. This is how you should be living, the ad says, in an overbearing, if still somewhat convincing, attempt to lift millennial spirits by pandering to vain conceptions of empowerment.

The extended version:

CREDITS
Client: Coca-Cola
Agency: Ogilvy & Mather, Amsterdam
Chief Creative Officer: Ogilvy Darre van Dijk
Sr. Copywriter Ogilvy: Jesse Ridder
Sr. Art Director Ogilvy: Jurriaan van Bokhoven
Agency Producer Ogilvy: Pirke Bergsma
Client Services Director Ogilvy: Annelouk Kriele
Account Director Ogilvy: Frouke Vlietstra
Director Caviar: Arnaud Uyttenhove
Executive Producer Caviar: Eva van Riet
Producer Caviar: Lynn Bernaerts
Producer Caviar: Neil Cray
DOP: Dimitri Karakatsanis
Editor the Whitehouse: Martin leRoy
Editor Gentlemen’s Club: Will Judge
Editor Kapsalon: Brian Ent
Colourist Glassworks: Scott Harris
Colourist Glassworks: Matt Hare
Flame Glassworks: Kyle Obley
Nuke Glassworks: Jos Wabeke
Executive Producer Glassworks: Jane Bakx
Producer Glassworks: Christian Downes
Sound engineer Wave: Randall McDonald
Music Ogilvy: Darius Dante
VO: Haris Trnjanin (HT)
Client Coca-Cola: Guido Rosales



This Long-Copy Ad for Condoms Is a 1,000-Word, Single-Sentence Orgasm

Everyone loves a good long-copy print ad. And here’s a clever one from FCB Lisbon for Harmony Condoms that stretches out the phrase “Oh my God” into an impressive 1,000-word sentence. The tagline: “Looong-lasting pleasure.”

Full ad below, via Adeevee.

Click to enlarge.

CREDITS
Client: Harmony Condoms
Agency: FCB Lisbon
Creative Directors: Edson Athayde, Luis Silva Dias
Art Director: Eduardo Tavares
Copywriter: Viton Araújo



Tempur-Pedic Knows Exactly What Every Sleep-Deprived Mom Wants for Mother's Day

Hallmark’s “Put Your Heart to Paper” campaign featured interviews with people who didn’t know their moms were watching. Now, Tempur-Pedic has hit it big with the opposite—interviews with moms who didn’t know their kids were watching, and didn’t know they were about to get a very nice surprise.

It’s not tied together as simply or as obviously as Hallmark’s campaign, but this spot does a reasonable job of pointing out how little moms get to sleep, and showing some very happy moms lolling around on the product.

RPA made the ad, which tries to tell moms, “You’re important. Sleep like it.” And it’s actually based on some pretty interesting research. In a Tempur-Pedic survey of 1,000 moms, 87 percent of them said they’re kept up at night by family concerns, finances, jobs and wondering if little Timmy is going to need braces.

In case you were wondering what Mom really wants for Mother’s Day, 40 percent of moms said waking up from a good night’s sleep and spending a whole day with their families, while another 30 percent said they’d prefer to sleep late and enjoy breakfast in bed.

So, if your mom is having sleepless nights, consider getting her a bed for Mother’s Day. It might not be the coolest or most affordable option, but it’s still way better than a vacuum.

CREDITS
Client: Tempur Sealy
Title: Moms: You’re Important

Agency: RPA
EVP, Chief Creative Officer: Joe Baratelli
SVP, Executive Creative Director: Jason Sperling
SVP, Chief Production Officer: Gary Paticoff
VP, Creative Director: Alicia Dotter Marder
Jr. Art Director: Dennis Haynes
Jr. Copywriter: Megan Leinfelder
VP, Director – Content: Mark Tripp
VP, Director of Digital Production: Dave Brezinski
Sr. Digital Producer: Ana Ponce
Digital Production Coordinator: Kristin Varraveto

EVP, Management Account Director: Tom Kirk
VP, Account Director: Rebecca Mendelson
Account Supervisor: Amanda de la Madriz
Supervisor, Digital Content Strategy: Joanna Kennedy

Production Co: Bö’s House of Visual Arts
Director: Mark Tripp
DP: Stephen Carmona
Producer: Tracy Chaplin
Production Designer: Kristen Vallow

Editorial: Butcher Post
Editors: Teddy Gersten/Nick Pezzillo
Assistant Editor: Amy Rosner
Executive Producer: Rob Van
Post Producer: Alexa Atkin
Lead Flame Artist: Moody Glasgow
Telecine Company: The Mill
Artist: Adam Scott
Executive Producer: Thatcher Peterson

Audio Post Company: Lime
Audio Post Mixer: Dave Wagg

Casting: Cornwell Casting
Casting Directors: Jason Cornwell, Damon Collazo, Sandra Petko
Casting Producer: Tina Eisner



Nice Guys on Tinder Turn Nasty in This PSA Campaign About Domestic Violence

We’ve seen a few different Tinder hacks from marketers, but here’s an interesting one that gets at the heart of the dark side of relationships.

An organization called Women in Distress created fake profiles on the popular dating app for three different “abusers.” As users swiped through their photo albums, the guys went from nice to nasty, eventually going to far as to throw a punch.

The point, says ad agency Bravo/Y&R, is that even nice guys can become violent fast, and that women need to “look for help at the first sign of things turning ugly.”

There are certainly a few problems with the execution. The guys look a little cartoonish in the images. Plus, the whole thing is a bit spammy—and the lack of a trigger warning might be problematic. Still, it’s well intentioned and might get Tinder users thinking about what they really want out of a relationship.

CREDITS
Client: Women In Distress
Project: Tinder Beater
Agency: Bravo/Y&R, Miami
Chief Creative Officer: Claudio Lima
Art Director: Gabriel Jardim
Photographer: Mauricio Candela
Motion: Fernando Lancas



This Is Surely the Most Strangely Beautiful iPhone Parody Ad Ever Made

What is the future of smartphones? Well, for one thing, they will reside inside your skull, not in your hand. And when they malfunction, your whole body will hiccup and crash—and you’ll need to head to the doctor for an upgrade.

At least, that’s the reality in this parody iPhone 7 ad from Noka Films.

“Upgrade is a story of a young woman who is experiencing an embarrassing malfunction with her older model of the iPhone and is desperately seeking an upgrade,” the filmmakers say. “iPhones and similar smartphones are now an integral part of our modern life, and in a way, beginning to alter who we are. To ridicule our addiction to our smartphones, we played out a world where this technological evolution may one day take over us.”

The idea of an iPhone implanted directly in your mind is “not so far from the truth,” they add, considering the “underlying strangeness of today’s world of marketing, innovation, and increasingly virtual reality.”



Diddy's New Fragrance Ad Is So NSFW, It's Ridiculous (Seriously NSFW)

Diddy and his girlfriend Cassie Ventura basically have sex in this NSFW spot for his new fragrance, 3 AM. But he says it’s actually not about sex—not really.

“I think if people hear about the video, they’re going to hear that it’s racy and provocative, but I also think they’re going to hear people say that it’s beautiful,” he tells Style.com. “That whole interaction has nothing to do with sex as much as it has to do with love. My concept is that love is the new sexy.”

The minute-long video is essentially an extended, quick-cut seduction sequence. “I like this style of commercial,” Diddy says. “I was brought up during that Calvin Klein time, and those sexy videos are part of what made me want to get into the fragrance industry. It was those types of ads.”

The rapper and entrepreneur will roll out the fragrance at Macy’s, but the retailer apparently wasn’t thrilled with the racy promo—and has demanded a toned-down version to play in stores, says Page Six.



Waffle House Unracists Its Cinco de Mayo Tweet Just in Time

It’s Cinco de Mayo, and here’s a simple rule for all you brand social managers out there: Don’t make puns using the name Juan.

Dave and Buster’s learned this the hard way. And his morning, Waffle House did the same thing, tweeting: “Bacon, you are the Juan for me.” The restaurant chain then deleted the tweet before too many people even noticed it—and replaced “Juan” with “one.”

Yes, some people will say Juan jokes aren’t racist. But you are going to piss off a whole bunch of people if you make one. So, why not just find a better way of being funny?



Audi Makes Fun of Women Drivers (but Not Really) in Curious Twitter Campaign

Audi Ireland has decided to directly address the stereotype that women are bad drivers in a Twitter campaign that aims to undermine that perception.

The automaker last week posted a series of images that appeared to make fun of women drivers—including scenes of poorly parked cars and men in passenger seats looking terrified. The tweets were tagged #womendrivers.

But the tweets also contained links, and it turned out they pointed to stories of women being real drivers in fields like technology, science and sports.

It’s an interesting idea, and a bit surprising that an automaker would even tackle an issue with such obvious pitfalls. The problem, as some have pointed out, is that you have to actually click on the links to realize Audi isn’t just being negative and weird. (The automaker has been posting an explanatory video on Twitter, too, though of course it’s easy to miss individual tweets.)

So, is a campaign like this clever, or maybe not such a good idea after all?

Agency: Atomic, Dublin. Via Design Taxi.



Huggies Helped This Blind Mom See Her Pregnancy Ultrasound by 3-D Printing the Baby

Seeing ultrasound images is a special part of most pregnancies, but women who are blind, of course, don’t get that experience. So, Huggies Brazil approximated it for one visually impaired woman by 3-D printing a sculpture of her unborn child that she could touch.

Ad agency Mood worked on the project with 3-D printing firm The Goodfellas.

“As a brand, Huggies considers each moment of this new phase in the lives of many women—the maternal role,” says Priya Patel, birector of baby care at Kimberly-Clark Brazil. “Huggies believes that such protective embrace and bond help babies grow up happy.”

CREDITS
Client: Kimberly-Clark / Huggies
Agency: Mood
Creative VP: Valdir Bianchi
Head of Digital: André Felix
Creative Director: Bruno Brasileiro, Felipe Munhoz, and Rafael Gonzaga
Creation: André Felix, Bruno Brasileiro, Felipe Munhoz, Rafael Gonzaga, and Ricardo “Brad” Correia
Artbuyer: Rita Teofilo and Thiago Campos
Project Manager: Rafael Coelho
Client Services: Fabio Meneghati and Andrei Sanches  
Digital Media: Mariana Costa and Sabrina Titto
Planning: Daniel Rios and Rafael Martins
3D Production: the goodfellas
Graphic Production: Julio Coralli and Dayane Souza
Post-production: Byanca Melo 
Photographer: Lucas Tintori, Rodrigo Westphal Galego, and Fábio Kenji
Soundtrack: Lua Nova – Conductor Fred Benuce
Producer: La casa de la madre
Stage Director: Jorge Brivilati
Screenplay: André Castilho
Client approval: Lizandra Bertoncini, Maria Eugênia Duca, Priya Patel, and Simone Simões
Public Relations Agency: Edelman Significa and Giusti Comunicação



Justin Timberlake Plays a Lime Who Goes From Hero to Zero in This Hilarious Tequila Ad

Justin Timberlake is a chamelion of sorts, a former boy-bander turned solo pop star turned comedic actor turned serious actor. And he multitasks quite nicely—and hilariously—in this 901 Sauza tequila ad. Not only does he star as an anthropomorphic lime, he came up with the concept and has a major stake in the business.

Timberlake quietly entered the alcohol category in 2009 with the launch of what was then just called 901. The name is a nod to his hometown—901 is the Memphis area code. Last year Timberlake rebranded the spirit in partnership with Sauza, and with this campaign he really takes ownership of his tequila brand.

The full three-minute spot is a classic cautionary tale, with Timberlake’s lime falling on hard times and sporting a bathrobe for his tell-all interview.

Kevin George, global CMO at Sauza parent company Beam Suntory, tells Fast Company that Timberlake pitched the idea in December. “He came in and said, ‘Here’s what I’m thinking,’ and right away we knew it was something completely different for the category,” George says. “Our meeting was literally an hour long, and in that short time we decided to make it happen. Did I have some reservations? Absolutely. But at the end of the day, we decided to figure it out and get it done. It’s been a great collaboration, but it largely comes from his idea and the tone he wanted to set for the brand.”

The campaign also includes the video below, which Timberlake tweeted out on Monday. A 30-second version of the lime spot will start airing on television on Tuesday.

Via Mashable.



Oreo Welcomes the Royal Baby With a Message for Every Other Newborn Out There

As the world oohs and ahhs over Charlotte Elizabeth Diana, Oreo is here to remind you that all babies are special, whether or not they’re born into royalty. A nice message from The Martin Agency to the one demographic that can’t even chew solid food.



The Brands Awaken for Star Wars Day, but Which of Them Used the Force for Good?

If you’re on the Internet, which you are if you’re reading this, you know that today is Star Wars Day (because, May the Fourth be with you). It’s the day where every Force-loving creature—droid, human or otherwise—proclaims their love for the movie franchise.

Perhaps you were alerted to the unofficial holiday by a far-out space scoundrel:

Or maybe by a guy having an identity crisis:

Or maybe it was a brand, which wouldn’t be surprising, given the sheer volume of Star Wars-themed tweets coming out of cyberspace today. Somewhere in the galaxy, Disney CEO Bob Iger is doing his best Emperor Palpatine impression, as every brand and its father is tweeting about his property.

Below is only the tip of the lightsaber of tweets. Take a look:



Meet the Couple Who Quit Their Ad Jobs to Take the Most Creative Trip Around the World

You’ve dreamed about it. But Chanel Cartell and Stevo Dirnberger are doing it.

After a decade in advertising, the South African couple—inspired by a talk by Stefan Sagmeister—recently quit their agency jobs and hit the road for an epic adventure. They’re traveling the world for a year and documenting the experience. But this isn’t some Lost in America-style escape plan. The How Far From Home project is intended to be a grand creative exercise that will hopefully recharge their batteries.

You can follow the project on their blog, Instagram, Twitter, Pinterest, and Vine. We spoke to Cartell and Dirnberger via email about how they got started and where they’re headed.

What was your advertising background? Did you both have agency jobs?
Yes, we were both in advertising at the time of departure. Steve worked at Joe Public (in our opinion, the best [above-the-line] agency in South Africa) as an art director, and Chanel was the creative director at Cerebra, the best social business agency in Africa (we would argue). We were basically at the top of our game, at the best agencies South Africa had to offer. It didn’t get better than Joe Public and Cerebra, and after a combined stint of 15 years in advertising and marketing, we felt we needed a change, and to re-energise our creativity.

0 kilometers // Johannesburg // South Africa

Did you reach a breaking point where you knew you had to quit?
We wouldn’t call it a breaking point, but after nearly a decade in the industry, your feet start to itch (not literally, of course). We were both lucky enough to attend the 2014 Design Indaba in February last year. We went to (the godfather of creative sabbaticals) Stefan Sagmeister’s talk, and it was after hearing his theory of “time off” that we knew it was what both our creative minds needed. On a scale of 1 to 10, Stefan rates taking a creative sabbatical as a 12. Every seven years, Stefan closes his New York design studio for 365 days to pursue “little experiments” that are difficult to complete while working full time.

After hearing his talk, and knowing that we couldn’t spend the next 30 years simply doing the same thing every day, we made a conscious decision to spend the next year saving every last cent, so we could also enjoy time off to pursue our own experiments, and not live how society says we should. We wanted to challenge ourselves to see how we could excel creatively, and what better time to do that, then right now?

As neither of us had traveled extensively before, we saw this as the perfect opportunity to sponge other cultures, experiences, languages and people, while taking a year to experiment and create. We’d always dreamed of doing strange things like sleeping in igloos, fishing in Alaska (more Steve than Chanel :), and visiting designer cities like Berlin and Copenhagen. With enough savings and smart research, we could travel and experiment simultaneously.

6,292 kilometers // Abu Dhabi // United Arab Emirates

How did Up by Jawbone get involved as your sponsor?
A friend of Chanel’s imports the product into South Africa, and after hearing about the journey and our focus on creative challenges, he offered us each a band and challenged us to live the #GetUp way (10,000 steps and eight hours of sleep a day). We accepted the challenge, and are completely ecstatic to promote the product in any way we can. It aligns to the How Far From Home vision of staying healthy and creatively stimulated, so it was the perfect partnership.

Can you tell me what expenses they’re covering?
As the sponsorship is only a challenge with no set contract or promotion, no expenses are covered by them and no content is obligatory. We received the Up bands for free, and promote the brand when we feel inclined to do so, and when it aligns to a content idea.

8,365 kilometers // Salzburg // Austria

You wanted see “how far from home” you could get, figuratively speaking. Is this to challenge yourselves again and reignite your passion for life and work?
Yes, absolutely. The How Far From Home concept is a literal one (to see how far we can get from Johannesburg) as well as a figurative one (to see how far we can push ourselves creatively, and challenge ourselves daily). We dreamt of a journey that allowed us to live outside of the comfort zone, and would give us the opportunity to say “yes” to a whole bunch of crazy cool experiences, while fueling our creative needs. Life at home was very comfortable—friends, family, amazing jobs, shiny cars, a beautiful home—we wanted something that would shake it up a little.

8,678 kilometers // Vienna // Austria

In what sense is this a “creative” trip, and how can people follow along and contribute to the creative project?
Being two creatives, our need to create is strong. When we’re not cramming kilometers in busy cities, we’re finding every opportunity to experiment, brainstorm and create. Steve loves to illustrate, Chanel is design obsessed, and we both love photography. With the blog, we’re experimenting with creative writing, and sticking to our 7-to-9 schedule, we’re left with plenty of time to brainstorm projects.

We encourage the community to send us challenges and give us things to do. So far, the challenges we’ve received have been purely travel-related, but creative challenges would be golden. Since we began our journey, we’ve shifted from seeing ourselves as ex-advertisers, to problem seekers and content creators. No challenge is too big, and we’re hungry to brainstorm and create, no matter who the challenge comes from.

9,245 kilometers // Untersberg // Austria

You have 63 items on your “Wanderlist.” Do you want to cross all of them off by the end?
Our Wanderlist is currently sitting on 63, and we’ve recently received a ton more from our community (which we are sifting through to add soon). As challenges come in, we’ll keep adding them. Although we know the trip has to end sometime, we want to see how long we can keep going for. Financially, we don’t think we’ll be able to afford to do all 63 this year (and the rest that have come in from the community), so we’ll try squeeze in as many as we can, and maybe “take a break” to work for a bit to make the rest happen. If finances weren’t an issue, we would absolutely do all 63 (and more).

10,027 kilometers // Berlin // Germany

What do you think you’ll do after it’s all over? Head back to advertising?
We have only planned until the end of December 2015. After that, who knows? We might decide to catch the next flight to see where we end up. We like that it’s unknown, and we’ll let it be another challenge we have to solve then 🙂

11,185 kilometers // Oslo // Norway

Via Design Taxi.



This Dutch Insurance Ad Has a Hilariously Skeptical Take on Smart Homes

A high-tech house proves to be far from a “smart home” when two burglars arrive in “Welcome,” the latest amusing spot from Tribal DDB in Amsterdam for insurance company Centraal Beheer. The long-running comic campaign is tagged “Just call Apeldoorn,” the Dutch city where the client is located.

This minute-long ad is more subtle than previous installments like “Speedboat” and “Self-Driving Car,” which relied heavily on slapstick and noisy effects to deliver the message. Still, one key theme—technophobia—is carried over from past work, and once again viewers are promised a nasty future shock if we don’t take proper precautions (like buying insurance from Centraal Beheer).

The humor is pleasantly subdued, and the perfectly paced build-up leaves us slightly off balance until the satisfying payoff (not payout, however, unless you have Centraal Beheer).

You’ve gotta love those final scenes, with a cocksure, sweaty Silicon Valley-type hyping his home-control gizmo in a packed auditorium. Good luck with that IPO, Einstein!