Hasta La Creative!

Deutsch’s past work for nonprofit organization WATERisLIFE includes traveling to the Omo Valley in Ethiopia with photographer Neil DaCosta to capture “The Last Family Portrait” and a controversial “Art Heist for Good.” 

In its most recent campaign, the agency teamed up with m ssing p eces, Ntropic and Tactic to communicate the unseen dangers of unclean water to school children via a VR game. Conceived by Deutsch, Ntropic + Tactic developed the game, which sees children fighting monsters that emerge from a river, representative of bacteria and chemicals which make the water unsafe to drink.

A video, directed by Tucker Walsh,  follows the story of Wanjai, whose family lives in a village in rural Thailand where the locals rely heavily upon the Khao Laem River. It shows how the game was introduced in her classroom. After fighting off river monsters, Wanjai and her classmates were given a straw which removes bacterial contaminants and renders the water safe for drinking.

“Working with Wanjai to tell her story and seeing her experience the VR game was truly a humbling and once-in-a-lifetime experience,” Walsh said in a statement. “The team from WATERisLIFE was amazing with community outreach and getting all the locals involved in this clean water initiative—and these are just the first building blocks of an ongoing program.”

“‘Hidden Dangers’” really shows the power VR has as a tool to both educate and inspire children’s imaginations from places all around the world,” added Deutsch CCO Dan Kelleher. “The docu-short is a beautiful piece that captures the real-life impact of WATERisLIFE’s mission. We’re honored to be part of this very important cause.”

You may have heard that Mark Zuckerberg is quite bullish on live video.

A recent Wall Street Journal piece reminded us that Facebook may have overestimated the public’s demand for FB Live while also failing to anticipate that some people would use it to livestream dramatic and traumatic events involving death, destruction and harassment.

But it’s still a great marketing tool, too! For example, AKQA recently used it to help launch Nike’s new soccer/football shoe Hypervenom 3 in London via an event that combined “the finishing prowess of some of the world’s best goal scorers” with “the attitude and energy of the London Grime scene.”

Here’s one of the clips that aired live on the ‘book.

The clips don’t quite highlight the coolest part of the activation, though: “the world’s first full-size interactive LED goal.” Look a bit closer.

We totally missed the peanut gallery at first.

And the videos can’t quite do justice to the goal itself, which included “bespoke animations triggered by an array of 16 motion sensor cameras which tracked the exact placement and speed of strikes as they rained in on goal.”

It’s all part of Nike’s effort to endear itself more to European footballers.

One also can’t quite see the behind the scenes work, which AKQA coordinated with Nike around the live event in London and the Facebook streaming/voting activities. As Manchester United forward Marcus Rashford put it, “I can’t believe how cool it was. I felt like I was in a video game with the digital goal…”

Before you start talking smack, the event scored 2.3m viewers and 700 million impressions. Or so we hear.

Have you ever wondered how the insanely talented performers who make up Cirque Du Soleil spend their down time when not getting new tattoos and exotic piercings?

Agency of record Y&R gets right down to it in a new campaign promoting the French-speaking Canadian group’s popular Las Vegas shows O, Zumanity and KA. “Locals” positions these individuals as exactly that: dedicated artists who have to take a few minutes to attend to more pedestrian concerns near their suburban Vegas homes.

KA star Barri, a Welsh dude who used to be a WWE wrestler, loves to stop by his local coffee shop for what looks like an espresso and a cupcake.

Acrobat Marina is very particular about her outfits … and her dry cleaning.

Finally, Yulia Korosteleva waters her lawn before heading to work to deal with “dancing zebras and a human torch.”

VP, group creative director Nathalie Brown, who came up with the concept, wrote: “We wanted to represent the multiple sides of these artists: as amazing Cirque performers from some of the greatest shows in the world, but also as every day Las Vegas residents. The ads bring to life their extraordinary feats in contrast to their everyday errands, and really highlights the personality of Cirque du Soleil.”

Beyond these :15s, the campaign also includes outdoor, digital and the print ads below.

CREDITS

Cirque Du Soleil
Chief Marketing and Experience Officer – Kristina Heney
Senior Director, Brand and Marketing Strategy – Thierry Dumoulin
Senior Director of Marketing and Public Relations – Lou D’Angeli
Senior Marketing Manager – Ninfa Valdez
Senior Brand Manager – Charlotte Montminy
Director of PR – Ann Paladie
Junior Brand Manager– Lina Moussaoui

Y&R
Chief Creative Officer – Leslie Sims
VP, Group Creative Director – Nathalie Brown
Head of Design – Hamish Mcarthur
CD/Writer – Margot Owett
CD/Art Director – Nathalie Brown & Fern Cohen
Art Producer – Louisa Gargiulo
Art Director – Emily Lahourcade|
Copy Writer – Allison Reuben
Group Account Director – Caleb Lubarsky
Account Supervisor – Kim Reyes
Strategist – Ethan Scott

Photo Production
Photographer – Russ Quackenbush
Photographer Assistant – Heshua Hipp
Photography Agent – Jason Eason
Producer – Justin Folger
Location Manager – Mark Baliant

TV Production:
TamTam Films
Director/Editor – Alvin Tam
Director of Photography – Clayton Moore
Production Assistant – Meg Macdonald
Production Assistant – Derrick Webber
Key Grip – Frank Arant
Gaffer – Eric Pool
1st AC – Lynsey Cook

Cutwater launched a “#StrengthHasNoGender” campaign for Brawny in honor of Women’s History Month (that would be March).

The anthem ad “Breaking Barriers” spotlights a series of barrier-shattering women throughout history, including Harriet Tubman, Susan B. Anthony and Marie Curie. A voiceover announces that every time such a barrier is broken, “women prove strength has no gender,” as the tagline appears onscreen.

More engaging is the digital series documenting less well-known barrier-breaking women, such as Vernice Armour, the first black female fighter pilot in the U.S. Marine Corps who dons the brand’s trademark flannel in the spot. Armour describes how she knew her life had changed when she first learned that the Pentagon had been attacked. She became an officer in 1998 and it wasn’t until she walked in to the ready room for the first time that she even realized her pioneering status. “Today there’s no way you can take women out of the fabric of the Marine Corps,” she concludes, “because our military is stronger with women in it.”

The spot concludes with the lines “#StrengthHasNoGender” and the message “Stay Giant.”
Other ads in the series highlight the accomplishments of Dr. Anna Kornbrot, the first female student to graduate from her Ivy League college, Brittany Wenger, the self-taught coder who invented The Cloud 4 Cancer program to diagnose breast cancer and Dr. Patty Lopez, a datacenter engineer who has been awarded seven patents.

The campaign will also feature a notable packaging component and a $75,000 donation to Girls Inc., which encourages girls to pursue STEM degrees and careers.

“The biggest, most courageous piece of it was, we are going to put a woman on these packages and make them available for everyone. I always think it’s fun when packaged goods clients are hip enough to change something and offer something special, kind of like when Coke put names on its cans,” Cutwater CCO Chuck McBride told Adweek.

Credits:
Agency – Cutwater
Chief Creative Officer – Chuck McBride
Associate Creative Director – Aaron Sanchez
Art Director – Nathan Lewis
Art Director – Rebecca Schefkind
Copywriter – Jay Brockmeier
Executive Producer – Michael Huntley
Content Producer – Robbie Weidie
Producer – Kimberly Grear
President, Principal – Christian Hughes
Group Account Director – Coleen Karkazis
Account Director – Greer Gonerka

Client: Brawny® – Georgia-Pacific, LLC
Gary Gastel – Senior Brand Director
Shari Neumann – Senior Director, Content Lead
Santiago Arboleda – Director, Brand Building Leader
Frances Morgan – Senior Brand Manager
Joel Potts – Senior Associate Brand Manager

Breaking Barriers Credits
Scheme Engine – Production Company
Executive Producer – Sheira Rees-Davies
Producer – Cisco Newman
Director – James Larese
DP – Sing Howe Yam
Triggr & Bloom – Post Company
Color & VFX – Triggr & Bloom
Post Producer – Monica Blackburn
Editor – James Larese

Interview Video Credits
Mat Guido – Blast
Director – Alison Klayman
Line Producer – Dana Popoff
Editorial Company – Beast
Editor – Doug Walker
Color – Dave Burghardt
Executive Producer – Jon Ettinger
Assistant – Seth Andrews

Droga5 launched a March Madness campaign for Pizza Hut built around a pair of “Pie Tops” — shoes that let you order a pizza from the chain at the touch of a button via gelocation and connection to a special Pie Tops app.

The agency worked with “Shoe Surgeon” Dominic Chambrone to bring the idea to life.

“This is one of those ideas that as soon as we saw it, we wanted to buy it,” David Daniels, vice president of media and advertising for Pizza Hut parent company Yum Brands, told AdFreak. “It hit everything we wanted to communicate in this window in a fun, really relevant way. And it was beautifully tied to the thematic of the tournament and the season.”

To illustrate the “Pie Tops” in action, Droga5 turned to former NBA star Grant Hill for  spot which also advertises the chain’s March Madness promotion, which involves a two-topping pizza for $7.99,

Only 64 pairs of the sneakers were made (presumably including the ones given to Hill), one for each team in the March Madness tournament. According to AdFreak, most will be given out to brand influencers and media personalities, but “a few lucky Pizza Hut fans are likely to get some pairs, too.”

“As far as we know, this has never been done before,” Daniels added. “We feel it’s highly culturally relevant. Sneakers are hot.”

Credits:
Agency Droga5 NY
Creative Chairman: David Droga
Chief Creative Officer: Ted Royer
Executive Creative Director: Scott Bell
Creative Director: Tara Lawall
Associate Creative Director: Ben Bliss
Associate Creative Director: Evan Schultz
Associate Design Director: Mark Yoon
Chief Creation Officer: Sally-Ann Dale
Co-Director of Film Production: Jesse Brihn
Co-Director of Film Production: Bryan Litman
Broadcast Producer: Scott Sitman
Associate Producer: Tony Xie
Associate Director, Production Business Affairs: Librado Sanchez
Senior Business Affairs Manager: Alesa Blanchard-Nelson
DIrector of Interactive Production: Niklas Lindstrom
Head of Art Production: Cliff Lewis
Head of Print Services: Rob Lugo
Global Chief Strategy Officer: Jonny Bauer
Group Strategy Director: Ramon Jimenez
Strategy Director: Ben Brown
Strategist: Pj Mongell
Communications Strategy Director: Delphine McKinley
Communications Strategist: Mariel Milner
Data Strategy Director: Lily Ng
Data Strategist: Christina Fieni
Group Account Director: Ben Myers
Account Director: Bradley Allen
Account Supervisor: Jordan Cappadocia
Account Manager: Victoria Gan
Associate Account Manager: Andrew Mullen
Senior Project Manager: Andrea Verenes
Associate Counsel: Erica M. Palaia

Pizza Hut Client
Chief Brand & Concept Officer: Jeff Fox
Chief Marketing Officer: David Timm
VP, Advertising & Media: David Daniels
Brand Manager: Antonieta Moreland
Senior Associate Manager, Marketing: Amanda West
APR Cost Consultant: Ron Hacohen

Production Company Biscuit Filmworks
Director: Matt Dilmore
Executive Producer: Rick Jarjoura
Head of Production: Mercedes Allen-Sarria
Line Producer: Andrew Denyer

Editorial Rock Paper Scissors LA
Editor: Carlos Arias
Assistant Editors: Anne Laure-D’hooghe
Producer: Ashley Bartell
Executive Producer: Eve Kornblum

Post Production MPC NY
Grade: MPC
Colorist: James Tillett
Executive Producer: Dani Zeitlin
Producer: Jenna Gabriel
VFX: MPC
Senior Producer: Matthew Loranger
2D Lead: Bilali Mack
VFX Team: Mazyar Sharifian, Anthony Ricciardi

Music
Production: Squeak E Clean Productions, Inc.
Composer: Justin Hori
Executive Producer: Amy Crilly
Producer: Christine Billich

Publicis Conseil launched a campaign BNP Paribas around a pair of spots promoting the French bank’s mobile banking features.

In the more memorable of the ads, “Day After,” a man wakes up in a hotel room bathtub to find he’s due to check out in 30 minutes. He quickly discovers he’s gone on a spending spree of which he has no recollection. Obviously, the scene brings to mind the 2009 Todd Phillips comedy The Hangover (and to a lesser extent, its sequel, which was pretty much the same movie). The comparison (also noted by LBB) is pretty much unavoidable.

As the man moves through the room and discovers more items related to his apparent bender, he repeatedly increases his credit limit with the touch of a button. While clearly derivative of the aforementioned blockbuster comedy, it’s also a pretty clever and entertaining way to show off the feature.

Unfortunately, the second ad, “Dishes” fails to live up to the effort, showing two parents bribing an angsty goth teen to do chores as a way of showing off how easy BNP Paribas’ mobile payment feature is.

Credits:
Agency: Publicis Conseil
Executive Creative Director: Olivier Desmettre, Fabrice Delacourt
Copywriter: Marc Rosier, (Digital) Sébastien Dudas
Art Director: Jean-Marc Tramoni, (Assist) Agathe Bailly
Strategy: Alexandra Mimoun, Etienne Averseng’
Account Management:César Croze, Eric Forest, Sébastien Hamburger, Amélie Houles-Beauclair, Vincent Jegu, Vanessa Matias
TV Producer: Armelle Sudron

Production Company: Henry
Producer: Amandine Ledrappier
Director: Nick Ball
DOP: Sebastian Blenkov

Post-Production: Frédéric Lubin

Sound Production: Esmeralda Léo

Last August, A-B InBev selected Droga5 to handle creative duties for its growing Best Damn Brewing Co. alcopop line, with the agency resigning work on Heineken’s Newcastle and Strongbow Cider brands in the process.

Now Droga5 has debuted its first work for the brand, introducing Best Damn Cream Soda and Best Damn Sweet Tea with its “These are the Best Damn Times” campaign, built around two 30-second and one 15-second spots.

The campaign is a “kind of refresh” which will see the brand “offer another flavor in the flavor war of hard sodas,” Best Damn Brewing Co. senior director Kathy Sattler told Adweek. “The consumer for this is someone who is really motivated by flavor [and something] new, so we’re putting out new versions and new flavors and options for them to choose.”

Translation: The consumer for this is someone in their young twenties who wants an alcoholic beverage that tastes like soda.

“Literally” introduces the approach and is constructed around the all-too-common misuse of that word. When a young guy says he’s “literally” so hungry he could eat a horse, a black-and-white portrait is quick to correct him. Best Damn Cream Soda, on the other hand, is literally aged on vanilla beans. As it so happens, another portrait was hungry enough to eat his horse.

The 15-second “Moving,” which introduces Hard Sweet Tea (eew), unfortunately, is built around the same premise — as applied to “literally” dying from the pressures of moving. “Selfies,” meanwhile, sees a group of portraits express their disdain for a group of youngsters’ incessant need to photograph themselves.

“We’re building a brand platform,” Sattler added. “Best Damn is going to have hard sodas, we have fruit brews, and at the end of March, we’re going to do a pilot, and we’ll have [a hard] sweet tea. So what’s very exciting for Anheuser Busch is that we’ve come across a brand platform that can continuously meet the needs of people looking for a change of pace.”

Credits:
Client: BEST DAMN Brewing Co./Anheuser-Busch, Inc.
Campaign: These are the BEST DAMN times.
Agency: Droga5 NY
Creative Chairman: David Droga
Chief Creative Officer: Ted Royer
Executive Creative Director: Matt Ian
Senior Copywriter: Nicholas Bauman
Senior Art Director: Sean Park
Copywriter: Kathryn Kvas
Art Director: Vignesh Seshadri
Chief Creation Officer: Sally-Ann Dale
Co-Director of Film Production: Jesse Brihn
Co-Director of Film Production: Bryan Litman
Senior Producer, Film: Bill Berg
Producer, Film: Jacob Vogt
Music Supervisor: Ryan Barkan
Music Supervisor: Michael Ladman
Associate Director, Business Affairs: Librado Sanchez
Business Manager, Integrated Production: Grant Thompson
Director of Art Production: Cliff Lewis
Producer, Art: Frannie Schultz
Global Chief Strategy Officer: Jonny Bauer
Co-head of Strategy: Harry Román-Torres
Strategy Director: Nick Maschmeyer
Senior Communications Strategist: Michael Pignone
Account Director: Stephanie Thiel
Account Manager: Tori Tessalone
Senior Project Manager: Joe Watana
Project Manager: Tessa Muchura
Associate Legal Counsel: Erica Palaia

Client: BEST DAMN Brewing Co./Anheuser-Busch, Inc.
VP of BEST DAMN Brewing Co.: Rashmi Patel
Sr. Director, BEST DAMN Brewing Co.: Kathy Sattler
Sr. Associate Brand Manager BEST DAMN Brewing Co.: Marni Baron
Sr. Manager, Insights Anheuser-Busch, Inc.: Van Blackwood

Production Company: HUNGRY MAN
Director: Conor Byrne
Managing Partner/Executive Producer: Kevin Byrne
Executive Producer/Director of Sales: Dan Duffy
Executive Producer: Mino Jarjoura
Executive Producer: Caleb Dewart
Executive Producer/HOP: Jacki Sextro
Producer: Tyler Byrne
Production Supervisor: Chad Alburtis

Editorial: Cosmostreet
Editor: Aaron Langley
Editor: Craig Deardorff
Assistant Editor: David Otte
Executive Producer: Maura Woodward
Producer: Luiza Naritomi

Post Production: Eight VFX
Executive Producer: Alyssa St. Vincent
VFX Supervisor: Yannick Leblanc
Flame Lead: Luc Job
On Set VFX Supervisor: Kathy Siegel
VFX Producer: Michael McCarthy
VFX Coordinator: Patricia Burgess
Color: Aline Sinquin

Music: duotone
Creative Director: Jack Livesey
Executive Producer: Ross Hopman
Producer: Giovanni Lobato

Sound: duotone audio post
Mixer: Andy Green
Executive Producer: Greg Tiefenbrun

Did you know that Burger King burns down more often than any other fast food chain?

Neither did we—and we’re still not sure whether we believe it. But the chain’s agency partner DAVID Miami used the fact that fires do frequently break out at BK kitchens to promote the client’s classic “flame grilled” positioning in a kind-of-clever new campaign.

It seems that the agency simply turned to the corrupt, dishonest, biased media for images of BK locations setting themselves on fire and loving it for this execution.

Here’s one that went to soot last summer in Oregon.

It happened in Pennsylvania in 2015, too.

And yes, the phenomenon even travels overseas to Italy, where diners still like a good old beef-and-soy patty in between all those pasta dishes.*

It’s a fairly clever and simple campaign that didn’t seem to require much in the way of production or strategy or copywriting or anything, really, beyond the basic idea. We kind of wonder about the credits below, frankly.

But no campaign is comprehensive. The team missed the one in Killeen, Texas and the one in Yakima, Washington and the one in Hartford, not to mention the classic Onion headline “Burger King Fire Kills Seven Overweight Teenage Mothers.”

Anyway, the flames. They are open.

*We are very much aware that Italians do not eat pasta all day every day. But still.

CREDITS

CCO, Founder: Anselmo Ramos
Creative Director: Russell Dodson
Creative Director: Antony Kalathara
Associate Creative Director: Jason Wolske
Associate Creative Director: Danny Alvarez
Art Director: Curtis Caja
Copywriter: Ian Holmes
Design Director: Carlos Lange
Strategy Director: John Carlaw
Head of Global Production: Veronica Beach
Producer: Carlos Torres
Associate Producer: Marina Rodrigues
Managing Director, Head of Account: Paulo Fogaca
Senior Account Director: Carmen Rodriguez
Account Director: Lucila Mengide
Account Supervisor: Rafael Giorgino
Senior Business Affairs Manager: Barbara Karalis

Last summer, Japanese minimal-wear giant Uniqlo or UNIQLO tasked Droga5 with answering what might seem like a simple question: why do we get dressed?

The New York agency’s first effort (which was also the brand’s debut global campaign) answered that query with a bunch of other questions in reminding us that there’s no one reason to bother throwing on some clothes every day beyond the obvious “avoiding embarrassment” thing.

A new campaign by the agency’s London office dives a bit deeper into that void. First, an ad promoting a new wireless bra looks to “[challenge] the stereotypes of what feminine movements look like” with help from choreographer Ryan Heffington (Sia, The OA) and stylist Nancy Steiner (Lost in Translation).

Well that definitely reminded us of the last scene in the OA. And for those who haven’t finished the opaque Netflix series, we’re not sure we can make it a top recommendation as you will never get those 8 hours back.

The next spot highlights a very different product: clothes that “breathe” to help save us from our own grossness.

Finally, the last spot in this new campaign focuses on yet another “deceptively simple” item: the classic distressed jean. It also goes back to a common setup: boy sees girl, expresses interest, proceeds to kind of embarrass himself as the two do that odd dance.

The first one was directed by Autumn De Wilde, who’s best known for her portraits of musicians like Beck, with music by her daughter’s band. Nick Gordon of Somesuch helmed the other two, and all the VOs come via the perfectly named actress Tuppence Middleton.

We find ourselves discovering, once again, that we really don’t understand the clothing industry. These spots manage to be a mix of High Fashion and its more practical cousin, but they are quite pretentiously stylish above all else.

“The new UNIQLO campaign is a great example of how exceptional storytelling dimensionalises the technology-led benefits of our LifeWear apparel,” said the client’s president of global creative/fast retailing John C Jay. “The Droga5 London team’s creativity lifts the rational reason to an emotional answer.”

“Dimensionalises” is a new one.

“What we’ve tried to do here is take the rational reasons you buy their clothes and articulate them in the abstract,” added CCO David Kolbusz. “Uniqlo make some of the best clothes I put on my body. Everything they do is dedicated to improving what they sell. Every iteration of every garment is a step up from the last.”

That may well be true, but the main reason we liked Uniqlo’s products when the company first came to New York was their simplicity. To each his or her own, then.

CREDITS

CCO David Kolbusz
ECD Steven Howell, Rick Dodds
Creative Director Devon Hong
Copywriter Ulrika Karlberg
Group Account Director Rebecca Lewis
Account Director Michelle Villarreal
Account Director Alex Dousie
Senior Strategy Director James Broomfield
Agency Producer WIRELESS BRA – Chris Watling
DENIM – Peter Montgomery
AIRISM – Peter Montgomery
Director/ Production Co WIRELESS BRA – Autumn de Wilde / Somesuch
DENIM – Nick Gordon / Somesuch
AIRISM – Nick Gordon / Somesuch
Producer WIRELESS BRA – James Waters
DENIM – Chris Harrison
AIRISM – Chris Harrison
DoP WIRELESS BRA – Chris Blauvelt
DENIM – Evan Prosofsky
AIRISM – Evan Prosofsky
Choreographer WIRELESS BRA – Ryan Heffington
Stylist WIRELESS BRA – Nancy Steiner
DENIM – Lyson Marchessault
Editor WIRELESS BRA – Darren Baldwin / Final Cut
DENIM – Dan Sherwen / Final Cut
AIRISM – Dan Sherwen / Final Cut
Post Production MPC
VFX: MPC
VFX Producer: Sophie Hogg
2D Supervisor : Bruno Fukumothi
Grade: MPC
Colourists: Houmam Abdallah, Richard Fearon
Sound Design Will Cohen / String and Tins
Music WIRELESS BRA – “Ants” by Starcrawler
DENIM – Baby. By Donnie and Joe Emerson
AIRISM – Evaporate by William Doyle
English VO Artist Tuppence Middleton

Austin agency GSD&M teamed up with director Richard Linklater to tackle Texas’ proposed Senate Bill 6 (SB6) for the American Civil Liberties Union of Texas and Legacy Community Health. SB6 would force transgender people to use the bathroom of their birth sex, rather than the gender they identify with.

This week, the Donald Trump issued an executive order reversing Obama-enacted protections for transgender students, claiming such responsibilities should be left up to state and local governments. While the ad was created before the Trump administration’s decision, it certainly gives it added weight at a time when the issue of transgender rights is in the spotlight.

“Taking a Seat, Making a Stand” calls on viewers to demonstrate their opposition to Texas’ proposed law as the issue is presently in the nation’s spotlight. Adweek reports that Linklater shot the ad in GSD&M’s Austin office, including its bathrooms, of course. “Now we can stop the bill, but there’s only one way,” says one contributor near the beginning of the ad. “You’ve gotta roll up your sleeves, pull down your pants, and pee with LGBT,” adds another.

The spot continues with a mix of playful slogans, such as “spray it to say it,” and reasons to oppose the bill, such as the argument that “money should be spent keeping kids in school, not out of bathrooms,” and that SB6 is bad for businesses. It concludes with the message, “This isn’t a privacy issue. This is a discrimination issue” before prompting viewers to take action by contacting Texas lawmakers.

Adweek points out that GD&M’s ad skips over some of the nuances of the bill, which actually addresses changing facilities as well, in its desire to communicate a simple message. It’s a perhaps understandable move, though, as it would be hard to squeeze the intricacies of the proposed bill into a 60-second spot that people will actually watch and share, and the message that “”This isn’t a privacy issue. This is a discrimination issue” remains the same.