This Agency Pulled Off the Vending Machine Stunt to End All Vending Machine Stunts

Tricked-out vending machines have become the vehicle of choice for brand to push all sorts of zany promotions or social media stunts. We’re almost to the point where if you see one outside of its natural habitat, you assume it’s going to do something out of the ordinary if you just … wait for it.

Well, Canadian agency Taxi noticed that trend, too, and takes an amusing cynical stance on it in this video—yet another hilarious industry spoof from Strategy’s Agency of the Year event. Take a look below as unsuspecting passersby encounter this mysterious machine—which, well, actually does kind of surprise folks.



How This Agency Cleverly Stopped People From Googling Their Medical Symptoms

If you’re like me, you type your symptoms into Google every time you get the sniffles or feel the slightest bit under the weather. Well, that plan is ill-advised. It can yield reams of misinformation and all manner of (potentially harmful) misdiagnoses.

The Flemish government in Belgium commissioned DDB Brussels to help remedy the situation, and they came up with an intriguing cure.

They bought Google AdWords for the top 100 symptoms. Now, when people search Google about their ailments, the top result reads, “Don’t Google it, check a reliable source,” and clicks through to the Gezondheid en Wetenschap (Health and Science) website.

Check out DDB’s amusing minute-long promotional clip below, featuring hair loss, a bloody nose, gangrenous finger and festering boils. I feel better already!

CREDITS
Client: Gezondheid en Wetenschap
Campaign: Don’t Google It
Clients: Marleen Finoulst, Elizabeth Bosselaers & Patrick Vankrunkelsven
Agency: DDB Brussels
Creative Director: Peter Ampe
Creative Team: Tim Arts & Stefan van den Boogaard
Head of Digital: Geert Desager
Strategic planner: Maarten Van Daele
Senior Account Manager: Silvie Erzeel
TV-Producer: Brigitte Verduyckt
Digital producers: Stefanie Warreyn & Maarten Breda
Webdeveloper: Christophe Gesquière
Design: Andreea Buescu & Cedric Lopez
Content planner: Michael D’hooge
Production company: Lovo
Director: Norman Bates
Producer: Bert Brulez & François Chandelle



U.K. Drunk-Driving Ad Makes Cruelly Ironic Use of Kool & the Gang's 'Celebration'

The 50th anniversary of England’s first drunk-driving PSA inspires a sobering celebration in this Department for Transport campaign.

Kool & the Gang’s 1980 hit “Celebration” anchors the new spot spot from AMV BBDO. Usually, the iconic dance track suggests parties and good times. Here, however, it’s sung karaoke-style by emergency responders at the scene of a car crash and by ambulance and hospital personnel as they struggle to save victims’ lives. (The song’s joyous “Come on!” exhortation becomes a doctor’s impassioned plea for an injured driver to pull through.)

The final scenes, which I won’t spoil, are immensely sad, their impact heightened by sudden silence as the music unexpectedly cuts out.

The spot stands in stark contract to Britain’s first drunk-driving ad (posted below). Created in 1964 by animation firm Halas & Batchelor, it shows an office party, complete with balloons and silly hats. The voiceover says, “Four whiskeys, and the risk of an accident can be twice as great … Eight, and the risk can be 25 times as great.” (Eight whiskies—that’s some bash!)

The ad concludes, “Don’t ask a man to drink and drive”—a line that is sexist today, but true to its era, when only a small percentage of English women had driver’s licenses.

Of course, we’ve come a long way since then. Thanks in part to aggressive public-service campaigns, drunk driving has been stigmatized, and rightly so. Text at the end of the “Celebration” spot notes that in the past 50 years, annual drunk-driving deaths in the U.K. have fallen from 1,640 to 230, but then cautions: “That’s still 230 too many.”

Overall, the ad, expertly directed by Mark Zibert via Rogue Films, provides a compelling and slightly surreal viewing experience. Though neither gory nor emotionally over the top, its message—propelled by a cruelly ironic soundtrack—might just get stuck in viewers’ heads this holiday season and make them think twice about drinking and driving.

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Inside Blake Griffin and Chris Paul's Hilariously Odd Comedy Sketches for Jordan Brand

Are you up for some BGCP3TV in HD?

Los Angeles Clippers stars Blake Griffin and Chris Paul have each shown, separately, that they can anchor comedy. In State Farm’s Chris and Cliff campaign, Paul showed that he’s perhaps the NBA’s most gifted endorser. And Griffin? Well, he’s done so much comedy that he has his own section on Funny or Die.

Now, they’ve teamed up for an interesting project from Wieden + Kennedy New York and Jordan Brand—a pair of five-minute videos that are full of quirky comedy sketches. Both are pretty amusing—not surprising, since Neal Brennan, co-creator of The Chappelle Show, served as director and co-writer on these.

Griffin and Paul are launching new shoes a month apart, but these sketches are a whole lot more entertaining than some action footage would have been.

W+K’s Eric Helin wrote some sketches, as did Brennan. There wasn’t too much improvising—most of what you see was on the page, though Griffin and Paul made it their own. “I’ve worked with a ton of athletes and can honestly say Blake & Chris are among the best,” said Gary Van Dzura, W+K creative director. “They’re natural in front of the camera and have a great comedic timing.”

“Pretty much what you see is what you get,” Brennan added. “They’re friends who clearly spend a lot of time together. They like and respect each other and are used to making jokes all day. I was also amazed at how quickly they were able to memorize the material.”

Asked if there was a limit to how goofy he wanted the sketches to be, Brennan said: “One of the sketches that got cut out was super crazy. But I don’t think anybody really thought of them as crazy/not crazy. At least I didn’t. I just thought of them as tonally correct and funny/not funny. The Ohhh Bros. sketch is about guys whose lives are ruined by reacting to basketball plays. That’s pretty crazy.”

CREDITS
Client: Jordan Brand
Project: BGCP3TV in HD
Agency: Wieden + Kennedy, New York
Executive Creative Directors: Susan Hoffman, David Kolbusz
Creative Directors: Gary Van Dzura, Jimm Lasser
Writer: Eric Helin
Art Director: Erwin Federizo
Head of Content Production: Nick Setounski
Producer: Orlee Tatarka
Account Team: Jerico Cabaysa, Price Manford, Heather Morba, Cory McCollum
Business Affairs: Sara Jagielski
Production Company: Go Films
Director: Neal Brennan (Director & Co-Writer)
Executive Producer/COO: Gary Rose
Executive Producer: Adam Bloom
Line Producer: Marc Benardout
Director of Photography: Chuck Ozeas
Editorial Company: Starch Media
Editor: Bijan Shams,  Scott Ashby, Jeremy Hsu
Post Producer: Susan Applegate
VFX Company: Stardust & Elastic
VFX Lead Flame: Alex Frisch
Telecine Company: MPC LA
Colorist: Ricky Gausis
Mix Company: Eleven
Mixer: Jeff Payne & Ben Freer
Producer: Susanne Hollingshead
Song: “Junkyard”  (Original Composition)
Artist: James Poyser



U.K. Pharmacy Boots Celebrates Family in Its Quietly Lovely Christmas Ad

John Lewis may have won Christmas with its penguin ad, but Mother London’s holiday spot for British pharmacy chain Boots is an impressive stocking stuffer in its own right.

Director Noam Murro’s low-key, naturalistic approach really scores as we follow some folks who wake up very early on the day after Christmas and make preparations for a special celebration of their own. The muted documentary style lets the tale shine without reams of tinsel or the glare of too many holiday lights.

“This Christmas, we want to inspire our customers to celebrate the special people in their lives,” says Andy Ferguson, Boots director of marketing, “not just by giving the perfect gift from Boots, but by sharing the reasons they matter for the whole nation to see.”

Boots invites viewers to share stories of those they love using the #SpecialBecause hashtag, and there are campaign elements prepped for digital, direct and outdoor media. The centerpiece 60-second spot, produced by Biscuit Filmworks, is already running online, and breaks Sunday on ITV’s telecast of Downton Abbey.

Sure, there’s some sentimentality—this is a British holiday ad, after all. Still, it’s mainly a realistic people story that expands on themes from Boots’ 2013 Christmas outing. In a way, this new spot recalls A Charlie Brown Christmas—without the religious message—by transcending commercialism to reveal the deeper meaning of the season.

CREDITS
Client: Boots
Agency: Mother London
Producer: Emily Marr
Creative Director: Chaka Sobhani
Creative: Richard Tahmasebi & Pilar Santos
Advertising Agency: Mother London
Sound Design: Anthony Moore
Audio Post Production: Factory Studios
Editor: Neil Smith
Edit Company: Work Post
Post Production House: MPC
Production Manager: Kate Taylor
Production Company: Biscuit Filmworks
Producer: Charlotte Woodhead
Managing Director: Shawn Lacy
Executive Producer: Orlando Wood
Director: Noam Murro



Won't You Get in Alan Thicke's Bed for a Good Cause?

Perfectly coiffed former Full House patriarch Alan Thicke rolling around on a luxurious king­sized bed: dream or nightmare? It’s for a good cause, so be a sport and play along.

Thicke certainly does. The 67­-year-­old actor, talk show host, reality star and Paula Patton ex­father in law is working hard to sell that piece of castoff furniture. He lolls about on his high-thread­count sheets, eating donuts and reading fake books. While mostly horizontal, he even tags the footboard and autographs some head shots. “Nobody asked for these—I just like signing my face,” he says.

You want to own that beautiful mahogany frame (not mattress), you say? You’re in luck. Bidding happens online Nov. 22.

The stunt, found at AlanThickesBed.com, is a fundraiser for Canadian nonprofit resale chain ReStore, and proceeds from the auction will go to Habitat for Humanity. The videos come from JWT Canada, which plans a social media campaign that will follow the bed from Los Angeles to Toronto.

Credits below.

CREDITS
Client: ReStore/Habitat for Humanity
Agency: JWT Canada
Chief Creative & Integration Officer: Brent Choi
Creative Director: Ryan Spelliscy
Art Director: Dan Bache 
Copywriter: Henry Park
Senior Producer: Shelby Spigelman
Account Team: Lezlie Grossman, Kathleen Dusk, Corrine Luxon, Victoria Radziunas, Melanie Reiffenstein
Client Team: Rob Lee, Lisa Bogart, Joanna Dwyer
Digital Design Team: Patrick Schroen, Bruno Medugno
Director: Only Child (Mike Andrews & Daniel Mabe)
DOP: Roman Jakobi
Production Company: Descendants TV 
Executive Producers: Tasha Litt / Gerard Cantor
Producer: Anton Laines
Post-Production: Alter Ego / AXYZ   
Editing House: Saints Editorial
Editor: Raj Ramnauth
Executive Producer: Michelle Rich
Colorist: Clinton Homuth        
Online: AXYZ?Flame Artist: James Andrews?Producer: Karen Huybers?Music: Silent Joe
Creative Director: Trevor Allan
Producer & Music Supervisor: Jane Heath



Waitrose Skips the Whimsical but Still Warms Hearts in Its Christmas Ad

Christmas storytelling is an annual rite of advertising one-upsmanship in Britain. But how can you weave a heart-warming tale while still keeping your product front and center?

U.K. grocery chain Waitrose has found one solution by focusing on something that differentiates its staff. Employee shared ownership in the company, which would normally be the driest of dry topics, takes a charming turn in the store’s new holiday spot from BBH London. A real employee, Adejumoke Sanusi of Ilford, was even cast to play herself.

The ad follows the story of an introverted young woman tackling a holiday baking challenge for school. Unlike the fantastical whimsy of advertisers like John Lewis, this ad is far more grounded in the reality of why you’d actually need to turn (time and again) to a helpful grocery clerk. 

It likely won’t leave you wiping tears from your eyes, but on the other hand, you’ll probably at least remember what was being advertised.

By the way, the soundtrack comes from an interesting source: Members of the public joined a “Donate Your Voice” effort to create the track, a cover of Dolly Parton’s “Try.” The song is available for purchase on iTunes, with proceeds going to three U.K. charities.

CREDITS
Client: Waitrose
Marketing Director: Rupert Thomas
Head of Marketing: Rupert Ellwood
Manager, Advertising: Jo Massey
Marketing Manager, Advertising: Libby Langridge

Agency: BBH London
Creative Team: Fred Rodwell and Andy Parsons
Creative Director: Ken Hoggins & Martha Riley
Strategist: Melanie Arrow
Strategy Director: Tom Roach
Business Lead: Sian Cook
Team Manager: Emma Johnston-Donne
Team Director: Kayleigh Chapman
Producer: Glenn Paton
Assistant Producer: Sarah Cooper

Production Company: Park Pictures
Director: Tom Tagholm
Executive Producer: Stephen Brierley
Producer: Fran Thompson
Director of Photography: Rob Hardy

Postproduction: MPC
Visual Effects Producer: Amy Richardson
Visual Effects Supervisor: Jonathan Box
Colorist: Jean-Clément Soret

Editor/Editing House: Tim Hardy at Stitch
Sound: Sam Ashwell at 750mph
Music Supervisor: The Most Radicalist Black Sheep Music
Music Producer: David Kosten
Music Publisher: Carlin Music
Music Label: BMG Chrysalis



Has Science Finally Created a Veggie Burger You'd Mistake for the Real Thing?

If it looks like a burger, tastes like a burger and bleeds like a burger, it has to be a burger, right? Not really. Enter the Impossible Burger, a veggie substitute for the real thing invented by Patrick Brown, a biochemistry professor at Stanford.

The Impossible Burger is made of plant matter and uses a secret ingredient that makes it bleed and taste like meat—that ingredient is the protein heme, which is found in red blood cells and nitrogen fixing plants. Brown is also researching substitute cheese products.

“The way that the world makes its meat and cheese today is really the most environmentally destructive industry on the planet,” Brown told Bloomberg. “We are creating a product that we intend to be more delicious than the best burger you’ve ever tasted.”

Two Wall Street Journal reporters who sampled the plant burger said it tasted somewhere between turkey and the real thing without leaving you with that bloated, lethargic feeling.

Brown has created his own startup, Impossible Foods, which has attracted a reported $75 million in funding from such luminaries as Bill Gates and Google Ventures, the Journal reported.

Impossible Foods isn’t the first company to try to build a better “frankenburger.” Last year a Dutch researcher produced lab-grown meat from cow cells that cost a quarter million euros to produce.

For now, the Impossible Burger costs $20 to make, which is impossibly pricey by McDonald’s or Burger King standards. But McDonald’s has been talking about adding more organic alternatives to its menu to boost sales, which could eventually make room for mass-produced McDonald’s Impossible Cheeseburgers.



There's Already a Parody of the John Lewis Penguin Ad, and It's Painfully Hilarious

This year’s John Lewis Christmas ad was released today, and it’s super good—it’ll be hard for anyone to top. And in one of the quickest turnarounds ever, Redshirt Films has made a pretty funny spoof of the adorable spot featuring a boy and his penguin.

We won’t spoil it, but let’s just say the creators shine a light on the terrible practice of enslaving these poor little creatures with tiny minds who are forced to perform tricks and act as “fluffy hot water bottles for spoiled rich children.”

Take a look below at this scathing send-up of the instant classic.



Puddles the Golden-Voiced Clown Wants You to Ditch the Corporate Drudgery

If you’ve ever been a corporate clown, you can relate to this spot aimed at small business owners who fled the office circus to live their dreams.

Puddles, the Sad Clown with the Golden Voice, sings an altered version of the 1899 song “Keep on the Sunny Side,” made popular in the 1920s by The Carter Family. His version, entitled “Keep on the Corporate Side,” is a satirical ode to all things loathed by corporate wage slaves.

From the mockery that is casual Friday to dreams of vacations we can never take, the song is depressingly accurate. Lines like, “when they give you birthday cake, it just seems a little fake,” might make you rethink every corporate-enforced celebration you’ve ever tried to enjoy. Luckily, Puddles’ antics in the video and his melodious voice keep you smiling. And, of course, the video ends on a happy note as Puddles packs up his desk and quits.

Small business loan service Kabbage Inc. created the spot with Atlanta’s BreenSmith Advertising Agency to appeal to small business owners who’ve jumped the corporate ship (and those about to make the leap).

It’s interesting to note the video encourages people to share their #sadclown stories, since that’s a hashtag already in use by Puddles for his unrelated antics. But hey, you might as well have something come up when people search for your hashtag, and you could do worse than videos of a sad clown with an amazing singing voice.



Why Every Marketing Person in Canada Is Cursing the Name of This One Agency (NSFW)

Today in amusing Canadian agency videos, we have this one from Cossette—in which marketing people all over the country ask the same bewildered question: “What the fuck is going on at Cossette?”

It’s a good question, as it turns out. And kudos to people from rival agencies who make cameos here, including Carlos Moreno and Peter Ignazi of BBDO and—at the very end—Geoffrey Roche, who founded Lowe Roche. Other folks making appearances include the Trailer Park Boys, Chris Van Dyke of School Editing and Ted Rosnick of RMW Music.

Also, Cossette’s Dave Daga gets points for allowing himself to be hit in the balls.

The video, which was made for Strategy magazine’s Agency of the Year event, is NSFW, mostly due to language, though there a couple of unsightly visuals too.



All the Best Fake Commercials From Movies in One Amazing Supercut

In building a reality that suspends disbelief, moviemakers must pay attention to the smallest details—to make sure the world they’ve created is consistently styled. This means not only creating an engaging plot, but filling in the everyday occurances like the ads that inhabit these worlds. 

Well, Screen Junkies have done us all a solid and culled together the best of the best fake commercials in real movies. Sometimes the spots were incidental, buried on a TV in the background, and sometimes they played a more central role. 

The movies represented here include Robocop, Goodfellas, Wreck-It Ralph, Anchorman, Tropic Thunder, Jack and Jill, Jingle All the Way, Toy Story, Eternal Sunshine of the Spotless Mind, Serenity, Ghostbusters, Happy Gilmore, Batman, Lost in Translation, Anchorman 2, Prometheus, Punch-Drunk Love, Donnie Darko, Requiem for a Dream, Talladega Nights, The Running Man, Tommy Boy, Transformers: Age of Extinction, The Truman Show, UHF, Westworld, The Wolf of Wall Street, Total Recall, Beetlejuice, Coming to America, Dodgeball, Halloween III, I Robot, Robocop 2 and Starship Troopers.

And the results are fantastic.



These Subtly Animated Posters for Disney's Into the Woods Are Creepily Compelling

Animated posters for movies? Sounds annoying. Wait, subtly animated posters? Now you have my attention.

Disney’s cinema adaptation of the Broadway musical Into the Woods is being teased with a series of animated portraits that do a good job setting the mood for a dark fairy tale. In most of the GIFs, the only movement is in the form of shifting shadows and reflected moonlight. 

Subtle animation is quite a creative trend these days, so it’s not like Disney’s marketing team invented the idea. But it’s still a great example of when form and function work well together.

Check them all out below, via Disney Insider.

 



GoldieBlox Hammers Barbie-Style Dolls in This Creepy-Cool Homage to Apple's '1984'

GoldieBlox is back with a charged ad aimed once again at tackling sexism in children’s toys.

The spot, which is structured much like Apple’s famed “1984” commercial, features young girls decked out in all manners of glitter and pink (you know, “girly” things) lining up to grab perfect Barbie-like dolls while a “Big Sister” drones, over and over: “You are beauty, and beauty is perfection.”

What is it about Orwellian spots and hammers? Why is smashing things to smithereens so satisfying? Anyway, you can guess the ending.

This time GoldieBlox taps Metric’s “Help I’m Alive” for its soundtrack, which is a little on the nose since the chorus of the song says hammer a bunch of times. Though the company must have been pretty careful with its song choice after what happened last time.

While the spot certainly isn’t perfect, it’s still such a thrill to see advertising that’s so passionate about throwing entrenched gender norms out the window. 

Via Time.



Gap Made a Bunch of Short Art Films, and They're Weird but Very Good

If there ever were a case for injecting fine-art theory into advertising, and vice versa, it’s these latest short spots from Gap. The 10 mini-spots, from Wieden + Kennedy New York, promoting the clothing retailer’s holiday gift guide, are so odd—but could totally pass as an MFA thesis or be seen at a gallery in Chelsea.

Gap—which last week rolled out four proper holiday commercials directed by Sofia Coppola, also from W+K—ditches human models here and clothes ordinary objects in its newest threads, aided by some perfectly matched sound effects and tracks. They’re delightful and ridiculous and playful, and among my favorite ads this year. 

If Marcel Duchamp were still alive to make ads, this is what he’d make. 

 
Lightning Scarves: Thunder is God bowling, and lightning is scarves.

 
Jacket Drones: Giving new meaning to the bomber jacket. 

 
Sweater Dance: This is literally the best ad for a sweater ever. 

 
Sweater Speaker: All about that bass.

 
Racing Shoes: Almost as awesome as Magic Carpet Cat.

 
Hula Hoop PJ’s: The weird crowning jewel of Gap’s odd thesis project.

 
Windshield Gloves: Kind of wish these were a real thing. 

 
Treadmill March: What if OK Go made a Gap ad?

 
Hi-5 Machine: No seriously, art collectors would buy the crap out of this. 

 
Flower Shower: American Beauty, but with no people in it. 



How JWT Is Turning Campaign Signs Into Furniture After Elections Are Over

Now that the elections are over, just think about all the fun craft projects you can do with irrelevant campaign signs—at least, if you live in Brazil.

Civic nonprofit Mobilidade Urbana Sustenável and JWT are out with the Political Furniture project, a campaign in the wake of the country’s elections that shows people how to turn post-ballot sandwich boards into DIY home fixtures.

The project includes instruction sets for how to build coat racks, stools, towel horses, side tables and coffee tables out of discarded campaign materials. You still have to do a fair amount of work—the key element in the designs seems to be thee two-by-fours found in sandwich boards. The wood will need sawing and sanding and screwing, so don’t forget your toolkit.

Alas, campaign paraphernalia in the U.S. doesn’t tend to come with the plywood necessary to spruce up your foyer while you save the plant. If it did, the resulting hat racks would probably prove among the more useful things to come out of recent elections.

More images below. Via Good.



Remarkable Ads Protest the Absurdity of the Open-Carry Gun Policy at Kroger

Agencies have taken many approaches to creating memorable gun-control ads. Grey Toronto’s latest work for Moms Demand Action, opposing an open-carry gun policy in Kroger supermarkets, is thought-provoking—and notably restrained by category standards.

A pair of minute-long radio spots use actual recorded phone calls in which Kroger employees try to explain why people can openly carry firearms in the store, but pets and kids’ scooters are banned. This approach could easily have veered into mean-spiritedness, but the conversations never make the employees sound foolish. These folks are, after all, not the policy makers.

Print ads effectively illustrate the same theme. They use the headline, “One of them isn’t welcome at Kroger. Guess which one.” A schoolgirl with an ice-cream cone, a teen carrying a skateboard and a big shirtless dude are shown beside men and women toting scary-looking firearms. (The print ads are variations on earlier Moms Demand Action efforts.)

“We wanted to pick a campaign that would give us the opportunity, frankly, to do more brand damage by running ads,” says Shannon Watts, founder of Moms Demand Action. “They may at first sit back and allow the brand damage to occur, and then realize, ‘Oh, wait, we’re alienating most of our customer base, which is women and mothers.’ “

A spokesman for the chain, which operates more than 2,400 stores in 31 states, told the Huffington Post: “Kroger’s policy has been and continues to be to follow state and local laws and to ask customers to be respectful of others while shopping in our stores.” Kroger has also blasted the Michael Bloomberg-backed Everytown for Gun Safety, which is funding the campaign, as “a national political organization that is attempting to use retailers to further their agenda.”

The ads were timed to coincide with Kroger’s investors meeting last week in Cincinnati. (Moms Demand Action claims Kroger pressured local radio stations to pull the spots. Neither Kroger nor iHeartCommunications, formerly Clear Channel, immediately responded to AdFreak’s requests for comment.) The radio spots continue to run in other markets through November.

For me, this campaign strikes the perfect tone, chastising Kroger without going over the top or employing gory scare tactics. The work is designed to make the audience think, to question the status quo—and I believe it succeeds. Even the employee in the “Scooter” radio spot sounds thoughtful in the end. As she struggles for words, you can almost hear her mind working, perhaps mulling the irony—some would say absurdity—of the store’s position.

CREDITS (radio and print)
Campaign Title: Choose One
Agency: Grey Toronto
Chief Creative Officer: Patrick Scissons
Writers: Patrick Scissons, Graeme Campbell
Art Director: Logan Gabel
Agency Producers: Vikki Kuzmich (print), Erica Metcalfe (radio)
Account Team: Laura Rovinescu, Darlene Remlinger
Production Companies: The Field (print) The Eggplant (radio)
Producer: Cherie Sinclair (print) Adam Damelin, Roc Gagliese (radio)
Photography: Eden Robbins, Hardave Grewal (retoucher)
Sound Engineer: Nathan Handy



Brilliant YouTube Banner Ads in Peru Cover Subtitles to Promote English Lessons

Learning a new language is never easy, and for many Peruvians, it’s a lot easier to just read the Spanish subtitles on their favorite U.S. movie trailers.

Armed with that insight, language school Euroidiomas has been trolling these viewers with clever YouTube banner ads that covered subtitles on movie promos and urged them to sign up for English classes.

“The action’s up there, not down here,” notes one ad.

“Go to watch movies, not to read them,” says another.  

Clever as they may be, it’s unlikely they worked very well if (as in the case study below) the ads were written in English. We’re going to guess the real ads were in Spanish and that this version was just created for us English speakers to appreciate the campaign. 

Now, if we’re done, I’d like to get back to this Tortugas Ninjas trailer. 

Via Creative Criminals.



This Agency Rewards Its Employees in the Most Amusingly Sadistic Way Possible

Canadian agencies sure are good at doing videos excoriating the ad business. Just in the past week we’ve seen:

• John St.’s hilarious takedown of real-time marketing with Reactvertising
• Zulu Alpha Kilo’s obscene ’60s adman visiting a modern agency
• Rethink’s piss-taking idea to honor case studies with awards

Now, here is Toronto creative agency Union to add an amusing entry to the list—featuring its twisted take on employee appreciation day. You see, Union was shortlisted for Strategy magazine’s Agency of the Year awards, but that success didn’t come easily.

We’ll let agency principals Lance Martin and Subtej Nijjar explain:

As Union explains on its website:

This business of advertising isn’t easy. There are people who put their blood, sweat and tears into the campaigns they produce. That’s why, when an agency like Union gets shortlisted for strategy’s Agency of the Year awards, the painstaking time and effort that goes into the creative product is worth celebrating. And the shop knew just what gift to give its staffers for a job well done.

Check out more amusing videos made for the Strategy event here.



Finally, Advertising Case Study Videos Get Their Own Award Show

Case study videos. I could watch them all day long. They’re my favorite form of media entertainment—apart from sitcoms starring Concord grapes, that is. These days, advertising case studies are so creative and well produced, they’re often more enjoyable than the crappy campaigns they show off. And dammit, they deserve an award show of their own.

Which brings us to this spoof video from Rethink Communications introducing the Caseys, honoring excellence in advertising award-show submissions. “Cannes, One Show, the Clios. These shows celebrate the very best in creativity,” the voiceover begins. “But none of them celebrate what we do best as advertising professionals—the case-study video.”

Rethink’s self-deprecating satire is right on target. Outlandish (but colorful!) infographics flash across the screen, along with footage of earnest, eager agency staffers dying to put some gold on their cold, empty mantlepieces back at home. “The countless hours of nit-picking and favors you’ve asked for will all be worth it,” the narrator says, “because now, you can win an award for that thing that won you an award.”

Some categories include Best Use of Making-Of Footage, Most Innovative Use of a Single Tweet, Most Impressive-Looking Numbers and Best Use of British—because a high-class English accent makes claims like 400 trillion campaign impressions seem plausible.

Hmm … are we sure this is parody?