Hasta La Creative!

BodyArmor fields an impressive lineup in “This Is Now,” a cute commercial that positions the brand as an alternative to established players like Gatorade and Powerade.

Director Brian Ford and production company Schema Media strove “to make sure we had a unique creative approach to draw consumers in and hammer home that we are the sports drink for today’s athlete,” vp of marketing Michael Fedele tells AdFreak.

Quick cuts depict passé eras with which the brand would rather not be associated. The best bits include: Rockets guard James Harden, topped with a ‘fro, committing fashion fouls in obscenely high socks and dangerously short shorts; Angels outfielder Mike Trout rocking a blonde mullet and loud tennis garb (he looks like Bjorn Borg crossed with Farrah Fawcett); and Colts quarterback Andrew Luck pimped out ’70s-cop-show pimp style.

“That handlebar mustache on Andrew Luck was an impromptu shave that he actually did himself,” says Fedele. “Back then, many pro QBs were very flamboyant. They threw on the fur and hit Studio 54, and the next morning did a photo shoot by the pool.”

Richard Sherman, Buster Posey, Skylar Diggins and Rob Gronkowski also goof around in the ad. (Patriots’ tight-end Gronk doesn’t twerk, but he does dig in to a mountain of hot dogs.) “Filming the spot was a lot of fun,” Fedele says. “We had Rob Gronkowski and Richard Sherman together for the first time since the Pats beat the Seahawks in the Super Bowl. Mike Trout and Buster Posey, both MVPs, spent time talking shop when we filmed them during [Major League Baseball’s] spring training.”

It’s a cool commercial, but can upstart BodyArmor (in which Kobe Bryant bought a stake last year) really make entrenched market leaders like Gatorade sweat?

“Young athletes, and the moms and dads who shop for them, compare BodyArmor to what’s out there, and the facts speak for themselves,” Fedele says of the brand’s mix of coconut water, vitamins and electrolytes. “A 15-year-old athlete today doesn’t want to drink the same sports drink their grandfather did.”

Silver Man—a dude in a top hat and glasses, every inch of him coated in silver paint—really shines in TBWAChiatDay’s new campaign for Miller Lite.

But he’s just one of many characters, oddball and otherwise, who visit a typical neighborhood bodega to pick up some suds and chat with wise, friendly Fred, the bilingual owner of the store. Other customers include a pair of muscular twins who say the same things at the same time; One Tripper (he doesn’t need help, dammit, toting a mountain of snacks and brewskies out the door); and a karaoke singer whose rendition of “Carry On Wayward Son” doesn’t quite match the sonic impact of the original.

Tagged “As long as you are you, it’s Miller Time,” the campaign includes ads in English and Spanish, targeting millennial and Hispanic audiences at a time when craft brews have eroded the sales of big-name beers. These eight spots have a relaxed, indie-film feel, inspired by the convenience-store settings in movies by Jim Jarmusch and the team of Wayne Wang and Paul Auster.

“The market seems to be rich with plenty of, let’s just say, less subtle beer advertising,” Arts & Sciences director Matt Aselton tells Fast Company, “so it seemed like a nice way of telling personal stories and not jock-rock archetypal stories. It’s like Sesame Street—the people in your neighborhood—except with a light beer.”

In real life, all sorts of people drop in and out of bodegas, so “anything is possible,” says Aselton. This makes the stream of strange customers in the commercials seem plausible, with the low-key and slightly askew humor hitting home every time. (The Silver Man, presumably a street performer, is a highlight, particularly when he’s joined by a glittery sidekick for an impromptu pose-down.)

Through it all, Fred serves as a calm, all-knowing foil, doling out advice and yakking it up with the clientele. Smartly underplayed by Eastbound & Down actor Marco Rodriguez, he keeps the proceedings firmly centered. The silver men may steal the show, but Fred is pure gold, one of the most welcome pitch-characters to hit screens in recent memory.

CREDITS
Client: Miller Lite
Campaign: “Bodega”
Andy England: Chief Marketing Officer
Gannon Jones: VP of Brand Marketing, Miller Family of Brands
Ryan Reis: Senior Director, Miller Family of Brands
Greg Butler: Director, Miller Lite
Jeanne-­ette Boshoff: Senior Marketing Manager, Miller Lite
Julia Watson: Marketing Manager, Miller Lite Multicultural

Agency: TBWAChiatDay LA
Stephen Butler: Chief Creative Officer
Fabio Costa: Executive Creative Director
Mark Peters: Creative Director
Jason Karley: Creative Director
Rick Utzinger: Creative Director
Bob Rayburn: Creative Director
Matthew Woodhams-­Roberts: Creative Director
David Horton: Creative Director
Jeff Dryer: Senior Art Director
Chris Rodriguez: Senior Art Director (Last Minute Gift)
Guy Helm: Senior Copywriter (Last Minute Gift)
Harris Wilkinson: Creative Director (Twins)
John Stobie: Art Director (Twins)
Brian O’Rourke: Director of Production
Anh-­Thu Le: Executive Producer
Stephanie Dziczek: Producer
Jill Nykoliation: Business Lead
Chris Hunter: Group Account Director
Scott McMaster: Group Planning Director
Bryan Reugebrink: Account Director
Alice Pavlisko: Project Manager
Linda Daubson: Director of Business Affairs
Nora Cicuto: Business Affairs Manager
Dorn Reppert: Business Affairs Manager
Dessiah Maxwell: Director, Traffic Operations
Judy Brill: Senior Traffic Operations Manager

Agency: Team Ignition
Erick Rodriguez: Senior Art Director
Raul Mendez: Senior Copywriter
Giovanni Chiappardi: Account Director
Elsa Gonzalez: Account Planner

Production Company: Arts & Sciences
Matt Aselton: Director
Mal Ward: Managing Director/Partner
Marc Marrie: Executive Producer/Managing Partner
Zoe Odlum: Producer
Sal Totino: Director of Photography
David Wilson: Production Designer

Editorial: Spot Welders
Haines Hall: Editor (Advice, Silverman)
Kevin Zimmerman: Editor (One Tripper ENG, Twins, Karaoke)
JC Nunez: Editor (Rivals, One Tripper SPAN)
Oli Hecks: Editor (Last Minute Gift, Present)
Carolina Sanborn: Executive Producer
Evan Cunningham: Producer

VFX: MPC
Karen Anderson: Executive Producer
Abisayo Adejare: Producer
Mark Gethin: Colorist
Mark Holden: VFX Lead
Benji Davidson, Dylan Brown, William Cox, Sandra Ross: VFX

Music Supervision: Good Ear Music Supervision

SFX: Barking Owl
Michael Anastasi: Sound Designer
Kelly Bayett: Creative Director
Whitney Fromholtz: Head of Production

Mix: Lime Studios
Mark Meyuhas: Mixer
Matt Miller: Assistant Mixer
Executive Producer: Jessica Locke

No matter how absurd your small business has become, FedEx wants to help streamline it.

BBDO New York is out with a handful of amusing new ads pitching the ways its shipping services can save you money, and maybe some embarrassment.

You can be a startup CEO who’s running a bed and breakfast as well as a home office to make ends meet. You can be a precocious son ruthlessly professionalizing your parents’ canning operation. You can be a miniature Glengarry Glen Ross run by hard-charging, smack-talking 15-year-olds. Or you can be a legitimate enterprise saddled with a dysfunctional open floor plan and a leader who leaves you guessing whether he’s out of touch or just doesn’t care.

The ads, directed by MJZ’s Tom Kuntz, are running under FedEx’s “Solutions That Matter,” tagline, which BBDO introduced in 2011. They’re the latest in the agency’s long run of creating humorous little scenarios for the brand. (Earlier this year, Ogilvy rebranded FedEx competitor UPS under the banner “United Problem Solvers,” with a much more serious global anthem ad.)

Here, though, the best moment might have nothing to do with FedEx’s business, and everything to do with that pug pushing a stroller.

The ads will run heavily on the Golf Channel, golf broadcasts on NBC and CBS, and on PGA.com through the summer and on FedEx’s social channels.

CREDITS
Client: FedEx

Agency: BBDO New York
Chief Creative Officer, Worldwide: David Lubars
Chief Creative Officer, New York: Greg Hahn
Executive Creative Director: Gianfranco Arena
Executive Creative Director: Peter Kain
Creative Director/AD: Eli Terry (Hotshots and Bed & Breakfast)
Creative Director/CW: Jessica Coulter (Hotshots and Bed & Breakfast)
Associate Creative Director/AD: Justin Bilicki (Family Business & Open Floor Plan)
Associate Creative Director/CW: Matt Herr (Family Business & Open Floor Plan)
Group Executive Producer: Amy Wertheimer
Executive Producer: Tricia Lentini
Group Planning Director: Sangeet Pillai
Managing Director: Kirsten Flanik
Senior Account Director: Kathryn Brown
Account Director: Amanda Cruz
Account Manager: Joshua Mesquita
Account Executive: Trent Lyle

Production Company: MJZ
Director: Tom Kuntz
Executive Producer: Scott Howard
Line Producer: Emily Skinner
Director of Photography: Jo Williams

Edit House: Mack Cut
Editor: Ian Mackenzie
Assistant Editor: Mike Leuis
Executive Producer: Sasha Hirschfeld

Visual Effects House: Schmigital
Sound Mixer: Philip Loeb/Heard City
Casting: Francene Selkirk

Unless you’re hiking the Appalachian Trail, or staring at your walls all day, or living under a rock, or running ad-blocking software for your eyeballs, you’re bombarded with brand logos all day long.

Here’s a fun and downright trippy project by the folks at Zing, who have taken some of those famous logos and GIF’ed their histories. The results are pretty neat, and you might just want to just sit and stare at them morph from old to new, over and over.

Then maybe go on a hike, but not after seeing them on white. Enjoy. 

Visual effects studio The Mill and Hollywood director Justin Lin (The Fast and the Furious 3-6) have collaborated on the latest film in Google’s Spotlight Stories—a series of immersive movies made uniquely for mobile. This one is groundbreaking because it combines live action and computer graphics in a 360-environment—and it required a completely new kind of camera rig that The Mill invented to give Lin the 360-degree live-action shots he needed.

The film, titled HELP, features aliens in a cityscape. But the narrative unfolds differently for every user, as you watch it on your mobile device—and move the device around to see different parts of the scene around you. (In this way, it approximates virtual reality.) The film is available for free with the new Google Spotlight Stories app via Google Play (and will be soon be on iOS via the App Store).

You can see a linear version of part of the film here:

brightcove.createExperiences();

As you can see in the behind-the-scenes video below, The Mill developed a proprietary software solution called Mill Stitch that takes images from multiple cameras and “stitches” the output into a continuous 360-degree view. This helped the director and cinematographer see the entire world they were filming as it happened. The Mill then combined the live action with the vast CG environments in postproduction.

Google’s Advanced Technology and Projects (ATAP) unit is behind the Spotlight Stories program. (Yes, the group’s tagline really is “We like epic shit.”) “Collaborating with Google’s ATAP team of experts and with such an acclaimed live-action director as Justin Lin allowed The Mill to flex its creative and technical muscles to solve new and complex challenges,” says The Mill CEO Robin Shenfield.

“It’s been, to say the least, a colossal learning experience and given us very valuable insight into the technical and creative challenges involved with new immersive and VR filmmaking. It’s a perfect fit for us to be at the epicenter of a new format and pioneering a new way of telling stories.”

brightcove.createExperiences();

Protein World continues to kick sand in the face of its critics.

After generating controversy and much attention for its brand in Britain this spring with its “Beach Body” campaign, the nutritional supplements company is exporting the incendiary advertising to New York.

A huge billboard with swimsuit-clad model Renee Somerfield has risen in Times Square, with its tagline, “Are you beach body ready?” casting a shadow across 42nd Street between Seventh and Eighth Avenues. Digital ads are planned for “every New York subway entrance,” boasts marketing chief Richard Staveley, along with placements “on 50 percent of all of the New York subway’s rolling stock. It will be an unmissable blanket coverage of Renee and yellow.”

What’s up Times Square @ProteinWorld pic.twitter.com/wtMEny9Dfp

— Renee Somerfield (@ReneeSomerfield) May 29, 2015

A few months back, the company reveled in the largely angry response the ads generated in England. Amid accusations of fat-shaming and perpetuating unrealistic body types, some of the street posters were defaced, and a Change.org petition collected 70,000 signatures demanding the company remove the campaign. Parodies popped up in cyberspace and the physical world, with Carlsberg’s “Beer Body” spoof—complete with one of its bottles rocking yellow swim trunks—among the cheeky best.

Ultimately, the Protein World initiative was banned by Britain’s independent Advertising Standards Authority, “due to our concerns about a range of health and weight loss claims.”

Through it all, the client maintained an unrepentant, in-your-face attitude. Its Twitter feed denounced England as “a nation of sympathizers for fatties,” and CEO Arjun Seth compared those who vandalized the bikini-beach posters to “terrorists.”

Of course, stirring up a shitstorm was—and is—the goal. And following its craptastic performance overseas, we should fully expect this calculated exercise in trolling to reek of success stateside.

“It’s a big middle finger to everybody who bothered to sign that stupid petition in the U.K.,” Staveley says of Protein World’s incursion into NYC. “You could say that the London protesters helped pay for the New York campaign.”

Jason Sperling’s new book, Look At Me When I’m Talking To You, gives brands new rules for fostering loyalty with consumers in an attention-scarce world. And the RPA executive creative director leads by example with a unique media plan for its release.

Beginning June 25, Sperling will publish the book on Instagram—one illustrated page a day for 160 days at @lookatmebook. As a sneak peek, there are already some excepts posted. The idea is to reach people where they already consume media, rather than force them into a different pattern of behavior—a key point of the book as well.
 

 

– “Look at Me When I’m Talking to You” examines the obstacles that collectively threaten our industry’s future and offers up new rules for getting attention in an attention scarce world, inspiring care amidst consumer apathy, and fostering loyalty from an increasingly discerning and departing audience. It offers proven strategies for connecting with today’s fickle, fleeing, over-stimulated audience. It has 20% more humor than most marketing books, and 100% more pictures. ———- It’s getting harder for books to break through, as well. So in the spirit of disrupting prescribed models and in the hopes of being my best example, Look At Me When I’m Talking to You is going to be the first-ever book released on Instagram. Yes, INSTAGRAM. The home of selfiers and humblebraggarts will now become a home of authors, too. It will unspool page-by-page for the next several months, with a bite-sized portion every day. And because it’s being released on social media, it will be a “collaborative” book, combining my thoughts, your comments and consumer perspectives. ———- Look At Me When I’m Talking to You will launch on June 25th. Read it daily by following @lookatmebook.

A video posted by by Jason Sperling (@lookatmebook) on May 25, 2015 at 10:54pm PDT

 
Sperling joined RPA in 2010 from Media Arts Lab, where he creatively led Apple’s worldwide “Get a Mac” campaign. He has also worked on brands including Honda, Pixar, ESPN and Suzuki. We spoke with him about the book, the Instagram idea and more.

What inspired you to write a book in the first place, and how long have you been working on it?
I hate that I’m in a career where most people avoid and detest the bulk of what we create. I want to be proud of what I do and what I make, and of my industry as a whole. So I guess this book is manifestation of that frustration, with some practical tools to help people make things that transcend the usual, expected fare.

The inspiration for the book’s idea comes from being immersed in this “mess of opportunity” every day, as well as from watching the way the industry change so drastically since I first got into advertising. It comes from the day-to-day trials and frustrations of trying to create content and social objects that people will willingly engage with. And it comes from the constant strategizing of how to stand out, stand apart and increase our chances of success.

In 2014, I was scheduled to do a presentation at the Creative Conference in Mexico City. It was canceled, but I was left with a presentation I didn’t want to see go to waste. So I stole moments over the next year writing it, sometimes in the passenger seat on a family road trip or in the bleachers during a kid’s baseball game (don’t judge me). And as you might expect, I would read through it every so often, think it was complete shit, put it down and then pick it back up a few weeks later and keep going.

So many marketing books are dismal. Why is this one different?
I feel the same way! They’re usually so “Well, duh, of course” and filled with lots of catchphrases that are basically the same thing we’ve heard a dozen times before. Or they’re filled with philosophy or generalizations that make for a great read but there’s nothing to glean.

I hope what makes this book better is the awareness of what makes most marketing books so bad. I wanted this to be fun to read, and be more conversational, but still be insightful. And why can’t there be a marketing book with pictures?!

It was also important to me that this be written with a creative bent, but for the subject matter to be broader than just a creative person’s perspective of the business. I wanted to take into account all sides of the industry—media and technology included—to fully explain the forces re-shaping our industry.

Lastly, I wanted this to be a marketing book that practices what it preaches. It’s easy to launch philosophy salvos on blogs and in regular books, talking about what works and what doesn’t. But when has a book actually demonstrated the things it was suggesting?
 

 

– Some things about me: ———- I’m an habitual over-sharer. ———- I wet my bed until the age of 11. ———- My go-to karaoke song is “Jessie’s Girl” by Rick Springfield. ———- I love brilliant ideas, brave work and being the underdog. ———- When I was a student at UCLA, I called about a job listing for marketing and selling condoms. It turns out it was for a different employer and they happened to be looking for a creative intern. The rest is history. ———- I was fortunate to spend years working on a brand like Apple, and then doubly fortunate to help bring Apple’s “Mac vs. PC” television and digital campaign to life (FYI, there are 230 more Mac vs PC ads that never made it to air.) It was declared Campaign of the Decade by Adweek and Top 10 of the Century by AdAge. ———- Currently, I serve as Executive Creative Director at RPA Advertising, working primarily on Honda North America. In the few years I’ve been here I’ve recreated my favorite movie, Ferris Buehler’s Day Off, for the Super Bowl, developed a massive digital campaign to help save the American drive-in movie theater, and worked on too many social media campaigns to mention. Fortunately, Forbes took notice of them in December 2014 and said, “Honda has become one of the most prolific and effective social media practitioners in the auto industry.” ———– I call Los Angeles home. I have a beautiful wife, three amazing kids and two mutts. ———- Thank you RPA Advertising for supporting the launch, and Bill Westbrook and Marsha Rybin for the necessary kick in the pants. And of course thanks to Nik Piscitello for the brilliant illustrations. ———- Twitter: jasonsperling_

A video posted by by Jason Sperling (@lookatmebook) on May 25, 2015 at 10:49pm PDT

 
What are the big themes of the book?
It talks about how consumer disenchantment has turned into disengagement, and suggests ways to build brand attraction in an age of brand aversion. It factors in the democratization of creativity, the proliferation of media channels, social media and mobile technology, and suggests ways for creating attention in an attention-scarce world and care in the midst of consumer apathy. And I share a story about selling my dad’s dirty magazines door-to-door. That’s not so much a theme of the book as it is a theme of my life.

You talk about new rules for attraction in the world of advertising and branding. What are some of those rules, and who’s doing it well?
One of the rules is to “Serpentine, serpentine” (borrowing from a scene in the comedy film The In-Laws). I think we’re in a world now where people expect marketing to be predictable, pushy and manipulative. They’re looking to shoot it down the moment they’re exposed to it. They want to hate it. They want to avoid it. To get around this gauntlet of cynicism and the reflexive need to turn us off, we need to always be moving in unexpected ways—through the content we create, the canvases we use in unintended ways, or with the context in which our work is seen.

I think the Honda Type R experience was a great example of serpentining consumer expectations: an unexpected twist on a familiar consumer experience, and simple yet impactful interactivity that allowed people to toggle between two really engaging, overlapping story lines.

There are also rules for what not to do in the book. One rule is, “No quickies.” The possibility of hitting the content lottery and creating something that goes viral is a powerful aphrodisiac. But in today’s fragmented media world, where every little bit of brand equity counts, we need to build deeper connections, establish brand loyalty and maintain continuity of message across everything we create. It’s not an anti-awesome-work idea, it’s just saying the work needs to be smarter and more strategic than ever. In the case of Kmart’s “Ship My Pants” commercial, it made for a funny spot, but it did nothing to position Kmart away from its competitors or engender brand loyalty with consumers. Sales were going down before it came out, and continued to go down after.

You’re releasing the book page by page on Instagram. Where did that fanciful idea come from, and do you realize you won’t make a lot of money that way?
I never assumed a niche marketing book would earn me a Scrooge McDuck money pool. It was more of an itch I needed to scratch. And it was more important to me that people read it than it was to write it and have it sit on sub-page 17 of an e-book store.

The Instagram idea was a reactionary thing. I gave the book to several people to read, and after several weeks, no one, not one person, had started to read it. Could be I have crappy friends, but I actually think it was the big, imposing stack of papers filled with heady thoughts that impeded them. That led to the “a-ha” insight/connection that these days people are ingesting content in small, mobile-sized chunks. So, why can’t a book be built that way? And since a good portion of the book is dedicated to breaking through and connecting with people in unexpected ways, it would be great for the book itself to exemplify the thinking.

How has your particular career path informed the way you see the challenges facing brands today?
Not sure my particular career path informed my viewpoints. Everyone in advertising faces the same thing, no matter where they’ve been. It’s diabolically tough today with technology and consumer mind-sets being what they are, and the media and content explosion is making it harder for brands to get seen and break through. And then knowing that the increasing rate of innovation will cause even more flux … it makes the head spin. But it makes the wheels spin, too. And it demands smarter, more unexpected solutions. If you happen to marry a smart agency with an extremely savvy client (I like to think I found that match), then you’re in good shape.

Will your next book be published on Snapchat?
Tinder.

CREDITS
Book: Look at Me When I’m Talking to You
Author: Jason Sperling
Illustrator: Nik Piscitello
Animation: Cameron Sperling
Sr. Editor: Wendy Sandoval
Pre-launch: begins 6/1/2014
Book launch: 6/25/2015

How can marketers with modest budgets—local home renovators and heating-system installers, for example—create “epic” advertising without going broke? Brazilian agency AlmapBBDO suggests tapping into the royalty-free video and image library of iStock by Getty Images. And it offers three amusing and effective spots to illustrate its point.

Almost everything about the mock ads below—for faux clients Lewis & Sons Heating Installations, Miracle Mike Contractors and Cosmo Cable and Satellite Services—is loathsome, from the cheesy, throbbing music cues to cheap-jack logos and annoyingly pulsating phone numbers.

In each case, however, the iStock visuals—of a tornado destroying a house, a snow-capped mountain range and a satellite orbiting the earth—are, well, epic.

“Creativity and visual accomplishment doesn’t have to come with a heavy price tag,” notes Andy Saunders, svp of content at Getty. Saunders says the campaign is designed to communicate the “quality, diversity and strength” of imagery available to advertisers at affordable prices through iStock.

Indeed, the images are so compelling, it may take a few beats before the commercials’ less-impressive aspects—and the fact that they are parodies—even register. (Though the absence of breathless testimonials from client CEOs is a dead giveaway.)

Getty’s stock has risen with AlmapBBDO before, notably in “85 Seconds” (which used 105 archived clips to tell a decades-spanning love story) and “From Love to Bingo” (conveying the saga of a single life using disparate 873 stills). Also, for Getty’s 20th birthday, agency and client showed famous faces aging through the years to demonstrate that great visuals are timeless.

Vodafone New Zealand is out with a heartwarming ad that tells the story of a mailman who finds and befriends a lost pig, then goes on a mission to reunite it with its owner.

It’s a path fraught with people who don’t know anything, except that pigs taste pretty good (truth). Eventually, thanks to Vodafone’s mobile network, the pig’s knight gallant is able to track down its home—though the story doesn’t end there.

The mailman’s escape might not be very smart, because doesn’t the woman already have his name and number, and all the necessary info to brand him a pig thief?

But ethics aside, the subtitled and punctuated oinks are pretty great, and Piggy Sue the Vodafone pig is definitely way less annoying than her American cousin Maxwell the Geico pig, even if she doesn’t actually have a Buddy Holly soundtrack.

CREDITS
Client: Vodafone
Creative Agency: FCB New Zealand
Executive Creative Director: Regan Grafton
Group Account Director: Karla Fisher
Head of Content Production: Pip Mayne
Planning Director: Simon Bird
Account Director: Dave Munn
PR: Angela Spain
PR Director: Joanna James
Producer: Amanda Langkilde
Regional Creative Director: James Mok
Senior Art Director: Freddie Coltart
Senior Copywriter: Matt Williams
Senior Planner: Hilary Dobson
Recording: Hammond Peak
Producer: Pen Cooper & Sarah Yetton
Music Production: Liquid Studios
Composer: Peter van der Fluit
Sound Production: The Coopers
Sound Engineer: Jon Cooper
Online Editor: Nigel Mortimer
Editor: Bernard Garry
Post Production House: Blockhead
Colourist: Ben Eagleton
Production Company
Production Designer: Margot Wilson
Production Company: Revolver
Managing Director: Michael Ritchie
Executive Producer: Michael Ritchie & Pip Smart
DOP: Nicolas Karakatsanis
Director: Steve Rogers

Riding the viral success of numerous other evolution videos, a genre that started with “The Evolution of Dance,” Breathless Resorts has scored a hit with “The Evolution of the Bikini”—an obvious crowd pleaser starring model and Vine star Amanda Cerny.

Vine stars are the new it thing in branded tie-ins, but there’s nothing new about scoring hits for your brand via hot girls in bikinis. The almost two-minute clip, by digital creative agency Forge Apollo, covers the bathing suit’s evolution from the 1890s to 2015 while it slowly uncovers Cerny in a through-the-decades striptease.

Her rack has already racked up 3 million views on YouTube and half a million more on Facebook. And as an extra bonus, you almost get to see Cerny topless. But the piece is more than pandering—it actually hits on the unique selling proposition of Breathless Resorts.

You see, Breathless Resorts occupies an interesting space in the resort market. It is an all-adults escape that is intended to save your vacation from the tyranny of other people’s children, while also saving those in monogamous relationships from the sort of talk they’d have to have before heading off to other adults-only places like Hedonism Resorts—designed for swingers.

But that doesn’t mean they still can’t imagine the sort of naughty adult fun that might happen at a resort called Breathless whose the advertising involves a woman almost going topless. The vacation possibilities, like the ad, will be too titillating for many to ignore.