Mercedes Accelerates to Its Top Speed in Real Time Through 4 Short Ads

These four brief ad from Jung von Mott illustrate, in real time, just how quickly the Mercedes-AMG GT S accelerates from 0 to its top speed of 310 kilometers per hour (roughly 193 miles per hour).

The German ads are designed to be viewed sequentially, running between other commercials in traditional TV ad blocks for maximum interruptive effect. By the end of the first spot, which lasts 3.8 seconds, the car is moving at 100 kph. By the end of the second, it’s doing 200 kph. It hits 310 kph during the fourth spot.

(Just toolin’ down the Autobahn to pick up some milk at the local Edeka market. Supergeil!)

The whole thing lasts less than 20 seconds, and the copy—displayed one word at a time on screen—flies by awfully fast. Honda and Hyundai took similar zippy routes recently, so I guess the speed-reading trend is in high gear until the next car-commercial gimmick comes down the pike.

Frankly, following such rapid text makes me kind of dizzy. Advertisers, feel free to slam on the brakes anytime. Via Ads of the World.



People Ignore a Giant Lump Growing on a Street in This Clever Cancer PSA Stunt

Never underestimate people’s power not to give a damn about what’s right in front of them.

We’ve seen this time and again in outdoor ad stunts, and this latest one from AMV BBDO in London is quite amusing to watch. It’s a PSA for Cancer Research U.K., which wanted to communicate that British people are missing the first signs of cancer. Well, no wonder they ignore small lumps in their bodies when they just walk right past weird giant lumps growing in the real world.

Model makers Artem built the lumps.

“The road lumps had to match the paving bricks of the street used for the shoot, and be distorted in such a way that made it appear as if a ‘tumor’ was growing in the road,” the company says. “The lumps had to be light enough to carry on and off set, but durable enough for a van to go over them; one of the lumps was reinforced in fiberglass to allow for a road sweeper to go over it.”

CREDITS
Client: Cancer Research U.K.
Agency: AMV BBDO, London
Creative Directors: Mike Crowe, Rob Messeter
Copywriter: Charlotte Adorjan
Art Director: Michael Jones
Agency Planners: Emily Harlock, Sarah Sternberg
Account: Gareth Collins, Emily Atkinson, Ally Humpherys
Agency Producer: Sophie Horner
Media Agency: Mediacom
Media Planner: Lucy Mitchell
Production Company: Rogue
Producer: Maddy Easton
Director: Sam Cadman
Sound: Gary Turnball / Grand Central Recording Studios
Post: Joseph Tang / The Mill
Editor: Kev Palmer / TenThree
Model Makers: Artem
Music: The Sound Works



1840s Prospectors Find the Mother Lode of Liquid Gold in CP+B's First Velveeta Ad

Kraft has changed how it defines consumers who eat Velveeta, from age and gender (millennial males) to mind-set (fun people who like to indulge). As such, new ads for Velveeta Shells & Cheese feature a broadly appealing pair of prospectors from the 19th century instead of a cool dude who sells remote-control helicopters at a mall.

In one TV ad breaking today, the bearded prospectors, one older and one younger, marvel at the “liquid gold” they’re eating, and the young one asks the oldster how he found it. Then what looks like a campfire conversation in the woods pulls back to reveal a whole different scene entirely.

Future spots will also find humor in the odd placement of frontiersmen in a modern supermarket. The campaign also includes online ads, social media marketing and a new wrinkle for the brand, radio ads, said Tiphanie Maronta, a senior brand manager at Kraft.

The ads are the first for Velveeta from Crispin Porter + Bogusky, which inherited the brand from Wieden + Kennedy in an agency consolidation late last year. 



The Bruised Woman on This Billboard Heals Faster as More Passersby Look at Her

Here’s an interesting use of facial recognition technology on billboards—to do something a little more inspiring than target you with the right products.

To coincide with International Women’s Day this Sunday, London agency WCRS teamed up with Women’s Aid and Ocean Outdoor to create some remarkable digital billboards about domestic violence. They use facial recognition to recognize when people are paying attention to the image of a bruised woman. As more people look at the ad, her bruises and cuts heal faster, communicating the benefit of not turning a blind eye to the problem.

The campaign premiers today at Canary Wharf, but it’s actually already won an Interactive Award in Ocean’s annual Art of Outdoor competition 2014. The video below is the case study made for those awards—with a different image, as you can see.

The new images are mockups of how the current campaign will look.

More images and credits below.

CREDITS
Client: Women’s Aid
Agency: WCRS
Creative Directors: Ross Neil
Creative Technology: Dino Burbidge
Creatives: Mike Whiteside and Ben Robinson
Agency Producer: Sam Child
Account Handling: Torie Wilkinson and Katherine Morris
Planning: Stuart Williams
Photography: Rankin
Media: Ocean Outdoor
Posthouse: Smoke & Mirrors



Plastic Bottles Dream of Thrilling Future Lives in Keep America Beautiful's Recycling Ads

Every plastic bottle in your bathroom dreams of a better life.

At least, they do in Keep America Beautiful’s new recycling ads from Pereira & O’Dell. The next phrase of the “I Want To Be Recycled” campaign launches today, and shows bathroom bottles looking forward to future experiences that are way more fulfilling that getting your grubby body clean.

The two 30-second spots below, created in partnership with The Ad Council and sponsor Unilever, personify products’ dream of being recycled into something new by being told through first-person POVs.

The campaign is based on new research that says that nearly half of Americans (45 percent) aren’t recycling their bathroom products. It also suggests 52 percent of people don’t know which bathroom items can be recycled, and 47 percent don’t have a recycling bin in their bathroom.

The “I Want To Be Recycled” campaign, launched in 2013, has gotten nearly $68 million in donated air time and media space, and ranks as the second most supported Ad Council campaign by network cable TV.



Agency Allegedly Wins Vans Project. Or Not. Just Stop Asking Questions, Please

Agencies like to trumpet their account wins in breathless emails, but here’s a press release that plays things closer to the vest. It seems Catch New York has been hired by Vans for an “extra super top secret project.” Reportedly. Allegedly. Possibly.

See the release below.

Pictured above are agency co-founder and managing partner Joe Perello, partner and CCO Doug Spitzer and co-founder and managing partner Arie Kovant.

At least, that’s supposedly them.



Delta Feels a Road Warrior's Pain in Charming Ad About the Most Grueling of Trips

Traveling constantly for work can suck, and Delta wants you to know it understands.

A new ad from Wieden + Kennedy New York tackles that familiar trope, as a drone of a man trudges through relatable little first-world indignities—the electronic keycard to his hotel room not working, getting lost going for a run in foreign streets, ironing a tie he’s still wearing (but wait … isn’t that how everybody does it at home, too?).

The whole spot hangs on the pensive singsong 1970 recording “Love You” by pop group The Free Design (also, how Suzanne Vega’s 1987 classic “Tom’s Diner” might sound if it were a nursery rhyme). The track is hypnotizing, if maybe a little preachy or misleading, implying the sad sack should be better enjoying his surroundings, some of which are stunning.

He does make the most of his suffering … maybe? To some degree? Looking at the views? Talking to people? Eating different foods? But mostly his face says it’s a lonely, alienating and exhausting trek.

The creatives also might peek through the curtain a little (sick of leaving loved ones behind to go on shoots?), but it doesn’t really matter. The images are generic enough examples of business travel that the guy could just as easily be in plastics.

Eventually, he makes it to a safe haven … the plane.

“It’s not home, but with every well-considered detail, it becomes one step closer,” says the voiceover. True as that may be, it certainly puts a positive spin on the situation, given that yet another intercontinental flight might actually end up being the least comfortable part of the whole ordeal.

CREDITS
Client: Delta Air Lines
Project: “On the Road”

Agency: Wieden + Kennedy, New York
Executive Creative Directors: Susan Hoffman and David Kolbusz
Creative Directors: Sean McLaughlin and John Parker
Copywriter: Eric Helin + Jean Sharkey
Art Director: Mathieu Zarbatany + Devin Sharkey
Head of Content Production: Nick Setounski
Broadcast Producer: Cheryl Warbrook + Helen Park
Brand Strategist: Meranne Behrends + Sam Matthews
Account Team: Liz Taylor, Meghan Mullen, Jasmina Almeda
Business Affairs: Sara Jagielski, Keri Rommel, Sonia Bisono, Rylee Millerd

Production Company: Epoch
Director: Martin de Thurah
Managing Director: Mindy Goldberg
Executive Producer: Melissa Culligan
Head of Production: Megan Murphreee
Producer: Michaela Johnson
Production Supervisor: Terry Gallagher

Editorial Company: Rock Paper Scissors
Editor: Mikkel Nielsen
Executive Producer: Eve Kornblum
Post Producer: Jen Milano
Post Executive Producer:
Editorial Assistant: Misha Kozlov

VFX Company: The Mill
VFX Lead Flame: Nathan Kane
Colorist: Fergus McCall
VFX Flame Artists: Krissy Nordella, Ben Kwok, and Jamin Clutcher
VFX CG Artists:
Producer: Colin Moneymaker

Sound Studio: Sonic Union
Sound mixer: Steve Rosen / Fernando Ascani
Producer: Melissa Tanzer + Justine Cortale

 



There's No Wrong Way to Ride a Harley in New 'Roll Your Own' Campaign

Harley-Davidson has always celebrated the individuality of the rider, and the motorcycle brand cranks that up in new ads from agency Wolfes LLC with theme “Roll Your Own.” And the work tries to break the stereotype of who rides Harleys and how they ride them.

The campaign debuts Wedneday with a series of 30- and 60-second broadcast ads, print ads, online advertising and social content. The ads will air during the NCAA men’s basketball tournament, as well as on theCHIVE.com and Heavy.com.

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There’s a lot of text going on in both the print and broadcast work, with Twitter handles, brief and sometimes cryptic headlines, the #RollYourOwn hashtag and the DarkCustom.com URL.

“The new creative is about each rider defining their independence and attitude, whether kicking up dirt on the track or sliding through the curves on ice,” says Dino Bernacchi, U.S. marketing director at Harley-Davidson.

See more of the work below.



Here's What Would Happen If Ad Agencies Hired Drones as Employees

Sure, drones are almost taking people’s heads off at TGI Friday’s. But they can be loyal and useful airborne employees for brave ad agencies willing to embrace the future.

Or maybe they’ll just wreak havoc.

Check out the video below, from creative and technology agency MRY, to see what might happen if a creative agency actually hired drones. And check out the New York City Drone Film Festival on March 7, of which MRY is a sponsor.



Watch This Ad Carefully, and You'll Be Transfixed by the Car Sitting Quietly on a Street

The Skoda Fabia is a pretty special car. Just park it on the street and see what happens. It’s way more attention getting than you think. A very clever ad by AIS London and MindsEye director Luke Bellis.

There have been ads like this before, of course—notably, this 2008 spot about driving safely around cyclists.

CREDITS
Client: Skoda
Agency: AIS London
Art Director: Jay Packham
Copywriter: Ian Cochran
Director: Luke Bellis
Producer: Ben Sullivan
Production Manager: Carmen Siu
Production Company: MindsEye
1st AD: Jonathan Sidwell
Director of Photography: Dan Stafford-Clark
Gaffer: Stefan Mitchell
DIT: Nelson Oliver
Art Department: Hayley Macdonald
Art Assistant: Ruth Pickard
Postproduction: Tundra
Head of Post: Espen Haslene



Agency Rigs Its Office to Count Everything That Goes On in Excruciating Detail

Do you love numbers? Not as much as Sid Lee does.

The agency’s Paris office is channeling Count von Count with a side project in which it set up digital sensors to count everything that goes on—how many cups of coffee are poured in a day, how many times the toilets flush, how many times employees use the “command + z” keyboard shortcut (that’s undo, for all you mouse-clicking Neanderthals), how many documents the fax machine sends (zero, since 2013, because ha ha, umm… what’s a fax machine?), etc., etc.

You can watch all this from afar, in real time, at dashboard.sidlee.com.

It’s more or less the perfect masturbatory agency promo for the age of breathless excitement about a near-future techno-utopia where everything is Internet-connected and reams of data provide unprecedented insight into humanity, and solutions to its problems.

By creating a public dashboard (powered by Arduino software) that tracks a largely mundane physical reality—the nuts and bolts of being a group of people who move through space making ads for a living—Sid Lee is almost able to have its cake and eat it too—proving competence in hardware-meets-software technology that might seem shiny to clients, but also casting a little self-aware doubt on the value of such an exercise. Or for less skeptical viewers, maybe it really is just a rah-rah celebration of the untapped potential of such stats—and a nice little blueprint for countless case studies about squishy success metrics.

Regardless, it’s fun to look at pretty graphs. Unfortunately, they don’t count how many bats are flying around the agency.



Gripping Powerade Spot With Derrick Rose Includes First Ad Narration by Tupac Shakur

In this inspirational ad from Wieden + Kennedy for Powerade, a boy who represents a young Derrick Rose rides through the south side of Chicago to a voiceover by Tupac Shakur—the late rapper’s first-ever narration of a commercial.

“You see, you wouldn’t ask why the rose that grew from the concrete had damaged petals,” Shakur says. “On the contrary, we would all celebrate its tenacity. We would all love its will to reach the sun. Well, we are the roses. This is the concrete. These are my damaged petals. Don’t ask me why. Ask me how.”

The bike ride from the south side to the United Center reflects Rose’s journey from the streets of Englewood, through adversity, to the NBA. The scenes then change to the present day, with the recently injured Bulls point guard drinking a Powerade courtside. Copy flashes, “We’re all just a kid from somewhere,” and the spot ends with a Rose wearing a “Just a kid from Chicago” sweatshirt.

The #powerthrough hashtag seems poignant in light of Rose’s recent injuries. And of course, using lines from “The Rose That Grew Through Concrete” is almost too lovely and perfect.

CREDITS
Client: Powerade
Agency: Wieden + Kennedy
Production Company: Smuggler
Director: Jaron Albertin



Jose Cuervo Mixes a Margarita in Space and Parachutes It Back to Earth

Brands are obsessed with space, getting to space, and anything that’s been to space. This week, it was Jose Cuervo’s chance to boldly go where no tequila brand had gone before—and hopefully make it home safely.

In honor of National Margarita Day last Sunday, Cuervo and its agency, McCann New York—using aerospace technology and GPS tracking—launched a container of margarita ingredients heavenward, hoping to mix a cocktail in space and parachute it back to Earth.

See how that went in this video:

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The agency teamed up with independent space program JP Aerospace, along with scientists who led the Phoenix Mission to Mars, to build and launch the spacecraft. The launch site was Pinal County Park, about an hour north of Tucson, Ariz.

Severe buffeting of winds at high altitude shook the margarita, and the extreme cold froze it. When the capsule reached about 100,000 feet into space, the weather balloons shattered and the capsule parachuted down.

The margarita landed in a ravine 100 miles from the launch site. It reportedly tasted good.



Mark Mothersbaugh Traces His Life From Blind Kid to Visionary in Great Google Play Ad

Google Play has been running a great branded content series from BBH Los Angeles called “California Inspires Me,” featuring interviews—which are then set to animation—with famous Californians talking about their upbringing. It’s a collaboration with California Sunday magazine (the regional print offshoot of nonfiction event series Pop-Up Magazine), and the results have been fantastic.

The latest spot in the series breaks today, featuring Devo’s Mark Mothersbaugh, who explains how he grew up legally blind and initially wasn’t that interested in music. It’s a lovely way to tell these kinds of stories. Have a look here:

To get an idea of how this campaign works behind the scenes, AdFreak chatted with Josh Webman, creative director at BBH L.A.

AdFreak: Can you describe the collaboration between BBH, California Sunday and Google Play? Who’s responsible for what?
Josh Webman: Everyone at Google and BBH loved the Pop-Up Magazine series. It was an incredible, sort of, “happening,” where on one night different artists, journalists and filmmakers present their work on stage—and then it all goes away. Nothing is filmed or recorded. As it turned out, Pop-Up was starting a new magazine series called California Sunday, and they were really interested in story advertising. The timing was perfect.

We all worked together to create the “California Inspires Me” series of print ads and animated films. It’s been a true collaboration between the three partners, with everyone bringing value to the work. We’re fortunate to have a client like Google Play, who is a big believer in creating advertising that doesn’t feel like advertising and putting content out into the world that is authentic and inspiring.

How do you choose the interviewees?
We all kind of go around the room and try to think about who has a truly unique story. Whose story would be fun to bring to life? Everyone has a say.

What’s the process like for the interviews? Do you sit down and have a long chat and then pick the best part? Is it more structured than that?
The studios team at California Sunday is amazing at getting people to open up. They have a deep roster of producers and writers from This American Life and public radio, who have a knack for getting the most interesting morsels out of their subjects. We would then all pore over the interview and transcripts afterwards, pick out the nicest bits, and start carving out a narrative.

Is the audio edited a lot?
We usually have somewhere between 45 minutes to an hour and a half of unedited conversation. Then, we cut down—as is always the case, we end up having to kill a few of our babies for the sake of a nice, tight story.

Do you then find animators to put pictures to the words?
Actually, we are already researching animators well in advance of the interview. Sometimes, this is the hardest part of the whole process, because each one of us has this back-pocket, laundry list of animators we’ve been dying to work with. So we’re all kind of jockeying for our favorites. But it all becomes a little clearer when we finally land on an interview subject. There was always a “eureka” moment, where we knew the subject and the animator just belonged together. It’s matchmaking.

What led you to Mark Mothersbaugh?
Who doesn’t love Devo? We were all fans. But really, Mark is so much more than Devo. He has such a dynamic and varied body of work, and the trajectory of his career has taken so many fascinating and unexpected turns. It felt like, “Why wouldn’t we want to tell that story? It’s riveting.”

In many ways, he embodies what we think of when we think of a multidimensional artist. He just has so many tools in his belt. And his personal story—how he “made it,” how he became who he is—is just as interesting as the art he creates. Mark has influenced whole generations, and in different mediums, too. He just seemed perfect for this project.

You got Madrid-based directing duo Manson to direct this. Why them?
Because they’re amazing. That’s the short answer. The long answer is, our design director, Florencio Zavala, came across the work of street artist/illustrator SAWE—one half of Manson—and we were all blown away. After one viewing of Tomás’s work as well, we knew we had to work with this crew. Mark’s story is fascinating, and we knew these guys would really elevate it. And they did. Knocked it out of the park.

What other videos have you done?
We’ve done “California Inspires Me” profiles on director Mike Mills, and the indie singer Thao Nguyen. And of course, Jack Black. We are hard at work on the next few installments, and they are great, really interesting, inspiring people whose stories are told beautifully. The diversity of the subjects is key, so we are trying to surprise people. We really hope everyone likes them.

The whole series has a dreamy vibe. Was that the intent all along?
We think so. It’s the California way, right? We’re all based in California—BBH L.A., Google Play, and California Sunday—so we wanted to have that feeling come across in the films, but subtly—we didn’t want to be heavy handed about it.

We wanted to get across the surprising way the state of California can be this great, unexpected haven for creativity—a place for dreamers and misfits. There’s a certain allure there, and an ideal that feeds right into a dreamy fantasy. To that end, we do always ask the illustrators to give us a bit of a surreal/fantasy vibe. That’s the great thing about animation: You can open it up and tell a person’s story in a less formal way.

What is the series trying to say, deep down, about California?
California is thought of as a lot of different things. Thanks in part to the film industry, we know it’s a place where artists come to, but it’s also a place where artists come from. It is a creative mecca as rich and diverse as any in the world, from the beat scene in the ’50s, Haight-Ashbury, Beautiful Losers, Ray and Charles Eames to Compton, Silicon Valley, Sound City, the Sunset Strip, Disney, Pixar, CalArts and Grand Royal.

California is a place where people not only find their footing, but grow and bloom, developing as people and as artists. BBH, California Sunday and Google Play wanted to shine a light on that idea. It really is a magical place, and it’s cool to hear how California does in fact inspire people. We’re all hoping, in our own way, that the series inspires others as well.

See the previous videos from the series here:



Agency Creatives Need to Shut Up About Entering Ad Contests, and Here's Why

Attention, creatives: You have actual paying clients, and shouldn’t be pissing your time away working on briefs for some cockamamie ad contest. But if you do, at least keep it quiet.

That’s the message of this amusing video by agency Zulu Alpha Kilo encouraging entries to Canada’s National Advertising Challenge—a contest that challenges creatives to dream up the most unconventional solutions for Canadian marketers. Sounds like fun? Sure, but you’d better not let certain colleagues know you plan to enter.

The winning teams get a trip to Cannes in June. The NAC got 200 entries last year, but hopes to double that this year. The briefs go live March 2, with a deadline of March 30.

“We have big aspirations for the NAC, but we were facing a serious comprehension issues within the creative community,” says Ellie Metrick, marketing and communications manager at NAC. “This year’s online video goes a long way in explaining that we offer creatives an opportunity to do original work in exchange for a chance to go to Cannes.”

CREDITS
Agency: Zulu Alpha Kilo
Client (Company): National Advertising Challenge
Creative Director: Zak Mroueh
Art Director: Ari Elkouby
Copywriter: George Ault
Agency Producer: Tara Handley
Production House: Someplace Nice
Director: Pete Henderson
Account Team: Alexandra Potter
Client: Ellie Metrick
Production House Producer: Robbie McNamara
Video Post Facility / Editing Company: Rooster
Editor: Chris Parkins
Online/Transfer: Fort York
Flame Artist: Lauren Rempel
Audio Post Facility/Music House: Zulu Alpha Kilo
Audio Director: Stephen Stepanic
Engineer: Stephen Stepanic



Sonic's Weird Drink Flavors Come to Life as Strangely Riveting Mouth Cartoons

Sonic is pretty serious about playing with its food.

A new campaign from Goodby, Silverstein & Partners transforms actors’ mouths into zany little characters using face paint, à la makeup artist Lauren Jenkinson‘s renditions of classic cartoon characters.

The illustrations are great more or less across the board, even if some of the writing and delivery—the self-destructive robot, the melodramatic doctor, the angst-ridden teenager—might try a little too hard to be funny.

The better monologues turn the corner on relatable bits of truth—like a Southern belle who scrambles to save face after it turns out she’s not so refined after all—or on straight-up charming silliness—like a hammy yeti, idiotic octopus or behind-the-times groundhog.

The best moments, though, come from the more subtle facial cues, like when a chin twitch becomes a boxer pumping his pecs, or a soul patch finds new life as chest hair (in what might be the most perfect equivalence ever).

Then again, that all might just be a matter of taste—promoting the fast-food chain’s various drink flavors is, after all, kind of the point. But seriously, just try to keep your brain from imploding when Abraham Lincoln cracks a pun about a Leonardo DiCaprio movie.

CREDITS
Client: Sonic
Campaign “Sipsters”
Agency: Goodby Silverstein & Partners

Creative
Executive Creative Director/Partner: Margaret Johnson
ACD/Writer: Jon Wolanske
ACD/Art Director/Designer: Kevin Koller
Copywriter: Justin Ralph

Account Services & Strategy
Group Account Director: Leslie Barrett
Account Director: Jenna Duboe
Assistant Account Manager: Olivia Mullen
Business Affairs Managers: Chrissy Shearer, Jane Regan
Senior Communication Strategist: John-James Richardson

Production
Director of Broadcast Production: Tod Puckett
Broadcast Producer: Melissa Nagy
Production Company: eLevel Films (Goodby Silverstein & Partners)
Director: Claude Shade/Jon Wolanske
Director of Photography: Brett Simms
Executive Producer: PJ Koll
Line Producer: Genevieve Giraudo
Production Manager: Haley Klarfield
Make-up Artists: Sarah Coy, Victor Cembelin, Sophie Smith and Monica Bishop

Postproduction
eLevel Films (Goodby Silverstein & Partners)
Editor: Quinn Motika
Executive Producer: PJ Koll
Post Producer: Samantha Liss
Telecine: Nathan Shipley
Online: Kyle Westbrook
Audio Mix/Sound Design: Nic DeMatteo, Jody Scott, Jon Shamieh
Music: APM Music
End Title Design: Kevin Koller

 



Tiffany's Gorgeous New Ad Tells Many Love Stories but Asks Only One Question

The real-life gay couple from Tiffany & Co.’s recent print ad return in this spot from Ogilvy & Mather featuring various duos on the brink—or in the process—of getting engaged.

Part of the jeweler’s “Will You?” campaign, it’s a sweet spot, in tune with the times, celebrating diversity and true love as simple facts life. (The 75-second ad shows an interracial couple, too.) According to the client, the campaign acknowledges the “variety of forms” found in modern romance, and positions its rings as “the first sentence of the story that a couple will write together.”

The progressive campaign has generated lots of mostly positive media play—Miley Cyrus called it “badass”—though some critics say it doesn’t push the envelope enough, while others take Tiffany to task for casting only attractive couples.

Societal issues aside, the spot shines in its attention to the daily details of affection: sharing a quiet drink or private joke, making gentle fun of a parter’s foibles, fixing the buttons on a lover’s shirt. Such scenes remind us of the priceless commitment a Tiffany ring represents.



Snickers Turned Marcia Brady Into Danny Trejo on 'Hungerlapse' Billboard, Too

BBDO New York’s “Brady Bunch” Super Bowl campaign for Snickers had a great out-of-home teaser element that not too people saw—but now you can, as video of it was posted Tuesday to the brand’s YouTube page.

The teaser video with Danny Trejo brushing his hair in the mirror rolled out online on Jan. 21. But the billboard campaign began way earlier—back in the first week of the year. By Jan. 9, people were already taking photos of the hand-painted New York City board (originally just showing Marcia Brady) and posting them online, tagged #WhatsUpWithMarcia.
 

 
Over a period of a few weeks, painters slowly transformed sweet Marcia into surly Danny. Check out that process in the new video here:

The video isn’t just a recap of the creative, either. Rather, it kicks off a new U.S. promotion. A spokesperson with Mars Chocolate North America tells us that fans can visit EatA.Snickers.com and show the brand (in photos or videos) who they are when they’re hungry—for a chance to win cash prizes and a YouTube takeover for a day.



Stars Trace Their Path to Success in Ogilvy's Grand New American Express Campaign

American Express tells four heartfelt stories of celebrity struggle, and ultimate success, in these spots from Oglivy & Mather. The ads—featuring queen of soul Aretha Franklin, sitcom star Mindy Kaling, GoPro founder Nick Woodman and restauranteur Natalie Young—aired in edited form during Sunday’s Academy Awards on ABC.

The stars, all AmEx customers, recall how they battled adversity. Franklin vanquished youthful shyness and insecurity to become a dynamic stage performer. Kaling overcame typecasting, refusing to play second-banana roles—”best friends” and such—as she climbed the ladder in Hollywood. Woodman reinvented himself from scratch, even moving in with his parents, after his first business failed and he lost $4 million of investors’ money.

Young’s tale of addiction is the most intense. “Everything that was good, was gone,” she says in a sobering voiceover. “I lost my family. I lost friends, lovers, jobs. … I took any job I could get. I trimmed trees. I washed cars. I just felt like a number. I didn’t feel like I was important, and that I was irreplaceable. And they made sure I knew that, that I felt like that. I know, today, that I don’t want anybody that works with me to feel that way.”

At the end of each spot, AmEx tries to forge a connection between endorsers, viewers and the company’s offerings. For example, during Young’s story, text flashes on screen: “To the next generation of late bloomers, welcome.” Kaling’s ad mentions “the next generation of unlikely leading ladies.” Ultimately, AmEx reminds us that “The journey never stops,” positioning its products and services as helpful tools to have along the way.

“People think we’re just a brand of when you quote, unquote ‘arrive,’ ” Marie Devlin, AmEx’s svp of global advertising, tells The Wall Street Journal. “We very much want to be with people along their journey through life. It’s not about a final destination.”

That strategy is fairly well implemented here. The spots look great, and the storytelling is first rate. It’s compelling, inspirational stuff, perhaps even refreshing and unexpected for the brand and the category.

Still, there’s a disconnect. There’s no evidence, nor even a suggestion, that AmEx helped them achieve stardom—or anything, actually, so the value proposition remains elusive. OK, they carry AmEx cards in their wallets. With all due respect: So what? (At least the campaign’s main social component—asking users to tweet in return for AmEx’s financial support of a documentary about ballerina Misty Copeland—displays some cause and effect.)

The whole initiative would be stronger if it focused on famous folks who scored major life victories precisely because, at pivotal points in their development, they used AmEx, and the company’s services pulled them through. That would give the campaign an extra layer of integrity, and perhaps deter those who would point out that charge cards—often misused in times of desperation—can bring people’s journeys to a crashing halt.



When the Escalators Died in Stockholm's Subway, Reebok Was There to Give People a Lift

If you’re looking for an unconventional workout, Reebok might suggest carrying a stranger up a flight of stairs, just so he or she doesn’t have to walk.

Last week, when the escalators in Stockholm’s subway stations were out of order, the sportswear brand, along with agency The Viral Company, recruited a bunch of athletes from Fit 4 Life, a local CrossFit gym, to give commuters a lift.

Despite the reasonable odds that the women panting at the top of the stairs—as well as some of the people who don’t seem to mind getting slung over some rando’s shoulder—are agency employees, the idea is cute, and a nice, down-to-earth extension of Reebok’s lofty new “Be More Human” strategy. (While there’s nothing special about Good Samaritans helping solo parents carry strollers up stairs, helping a pregnant woman by actually carrying her is a little more unusual—she was, according to the agency, late for a meeting.)

Nonetheless, the ad’s everyman heroes aren’t really doing anything impressive until they’re carrying their passengers raised overhead with one arm, like this guy. And they’re obviously not truly hardcore unless they have a giant tattoo of Reebok’s logo, like this woman—though she is just one of some 28 Reebok-branded humans currently known to reside in Sweden, according to a recent headcount from the company.