Clever McDonald's Ads Show Classic Characters Getting the Best Deliveries Ever

Here’s a simple and fun McDonald’s campaign from Leo Burnett Dubai promoting the fast-food chain’s delivery service, showing various characters receiving exactly what they love in a McDonald’s bag. (Not McDonald’s food, mind you, though you get the point.)

And that’s a key that the robot is getting, people. A key.

Via Adeevee.

More ads and credits below.

CREDITS
Client: McDonald’s
Agency: Leo Burnett Dubai, United Arab Emirates
Executive Creative Director: Andre Nassar
Creative Director: Rondon Fernandes
Art Director: Daniel Salles, Robison Mattei, Victor Toyofuku
Copywriter: Wayne Fernandes
Head Of Art: Bruno Bomediano



This Bank Found a Way for Men to Browse Pinterest Without Feeling Ashamed

How tough is it to scout for pillow shams and window treatments, Mr. New Homeowner, while keeping your manhood intact? Extremely difficult, if not downright impossible, on chick-dominated Pinterest.

FirstBank of Lakewood, Colo., wants to help you unleash your inner Martha Stewart while disguising the whole House Beautiful jag as a much more manly exercise. Just download a browser extension—themes include sports, meat and power tools—and “manoflage” your Pinterest page. So, while you’re actually considering color schemes and area rugs, it’ll appear to nosy friends or coworkers that you’re shopping for drill bits or ogling raw beef. Instant stamp of approval from anyone mired in gender stereotypes!

The digital campaign comes from ad agency TDA_Boulder, and its intro video will run as paid pre-roll on sites like Hulu and YuMe. There’s a dedicated man-o-flage.com site for the free software, which is also available at the App Store.

Decorate to your heart’s content, dude.



Here's What the Bible Would Look Like Full of Product Placements

Advertising veterans George Logothetis and Graham Clifford are celebrating Easter in a bit of a blasphemous way this year by unveiling The Product Placement Bible—a tongue-in-cheek (or at least turn-the-other-cheek) website that imagines verses of scripture sponsored by some of the world’s top marketers.

Placing products into TV shows and movies is commonplace. This satirical project takes the concept to its logical extreme by inserting marketing messages, logos and products into the most popular and widely read publications ever written, not counting the Ikea catalog.

The results are amusing—and Logothetis, a copywriter, and Clifford, a designer, hope you aren’t offended.

“It’s a not-so-subtle reminder for us to preserve our most sacred institutions,” they said in a statement. “There’s a time and a place for marketing messages, and it shouldn’t be in our most revered work of scripture. We came up with this far-fetched idea, sensed its potential as a content platform, and simply followed it to its logical conclusion. We mean no harm to anyone and want people to know that this is nothing more than a parody intended to be laugh out loud entertainment. And, of course, serve as a cautionary tale.”

Check out more examples below.



Is This Strange Russian Ad With a Man Drowning the Perfect Metaphor for Social Media?

If you saw a man drowning on social media, would you save him? That’s the metaphor at the heart of this bizarre ad for Mainpeople, a new Russian app designed to make charity more central to social media.

In the spot, half a dozen people stand on a dock watching and yammering while some poor guy flails around and swallows half the lake.

The cast of characters nicely skewers a range of clichés—there’s the paranoid conspiracy theorist, the smart-ass teenage boy, the cutesy teenage girl, the grown nerd spouting advice and statistics, the smarmy professor praising other countries, the indignant rich woman who blames the government.

Eventually, a sleazy contextual advertiser shows up and elbows his way into the conversation—flanked by two models in bikinis and rubber ducky life preservers (which are pretty awesome, I wouldn’t mind having one).

Nobody, though, can be bothered to actually lift a finger to help. And at the end of the parable, it’s clear, if not explicitly shown, that the victim actually drowns. (Though, in a clever bit of editing, an alternate reality shows the app quite literally saving him—someone pushes a button on it, and another man pulls him out onto the dock.)

The clip is, in a vacuum, amusing, playing on the perhaps too-obvious truth that there’s a lot of self-indulgent noise on networks like Facebook (and presumably VK), not to mention in a lot of the conversations anyone’s ever had about anything.

As for the apparent point—that people should be talking less and doing more to end suffering, broadly defined—it’s hard to argue the merits, but the mechanics are pretty fuzzy. There’s already no shortage of opportunities to donate to various causes via Facebook, for those who want them. Mainpeople’s website seems to suggest the app will streamline the process, making it easy to donate even when posting about unrelated subjects, and increasing the visibility of posts that come with a contribution (because it’s always smart to appeal to everyone’s vanity).

The brand’s name itself refers to people who are actually doing the heavy lifting of the charity work, and the app is supposed to let lazier types help simply by putting their money where their mouth is.

But even downloading another app seems like a lot of work.

CREDITS
Production: Stereotactic Moscow
Script: Pavel Karykhalin, Michael Lockshin
Director: Michael Lockshin
DOP: Ivan Lebedev
Executive producer: Pavel Karykhalin
Produced by Natalie Yurchenko, Lev Maslov
Composer: Oleg Karpachev



This BMW Ad With a 'Crazy' Woman Has Angered Mental Health Advocates

Will a BMW commercial that’s come under fire from a prominent mental-health advocates get bounced from the NCAA men’s basketball tournament?

The controversy over the 30-second spot, which has been running during games in heavy rotation, should serve as a cautionary tale for marketers (and communicators) everywhere. At first glance, “Cute Cottage,” promoting the ConnectedDrive personal assistant feature, seems harmless enough. A couple in a BMW X3 SUV pull up to the secluded, overgrown “Sprout Brook Inn.” Noting an unkempt woman in a nightgown and sweater staring at them from the porch, the guy in the passenger seat says, “She looks crazy.”

That line—and the couple’s decision to seek other lodgings post-haste, using the car’s technology (after Siri informs them of “slayings” at the dilapidated hotel)—didn’t sit well with Linda Rosenberg, CEO of the National Council for Behavioral Health, which represents more than 2,000 groups nationwide. She fired off a letter to BMW demanding the spot’s immediate ouster from the airwaves, and offered a “Mental Health First Aid” course to client executives and staffers at ad agency KBS+P, which created the commercial.

“This went beyond just the word [“crazy”] for us,” she told CNBC. “It was saying that word, and then behaving as if someone who has a mental illness doesn’t deserve your help. … They’re just going to walk away.”

BMW responded to Rosenberg’s complaint with an apology, and a company representative sent this statement to AdFreak: “We are deeply sorry to anyone that was offended by this ad, as it was certainly not our intention. The ad was intended to spoof a horror movie.”

Asked if the commercial would in fact act be pulled, the rep said, “The ad is naturally starting to run out of our ad-buy rotation.”

“Cute Cottage” does have a thriller-parody vibe—muted colors, moody photography, desolate locale, the couple’s overreaction. It’s neither hateful nor overtly disrespectful, and certainly not malicious. Ten years ago, or even five, I doubt there’d have been a dustup. I choose to take the brand’s apology at face value. If BMW doesn’t feel the ad is objectionable enough to pull, so be it—though trotting out the “nearing the end of its rotation” line, even if it’s true, rarely helps in these situations.

In a broader sense, we live in an age of social hyper-awareness, and words that carry dual meanings or subtly negative connotations — like “crazy”—should, at this point, set off warning bells. Still, it’s a tough call. Lenny Bernstein, the Washington Post’s “To Your Health” blogger, offers a nuanced take: “None of this dawned on me … though I’ve watched a lot of basketball and a lot of this ad since the tournament began. I understand why it’s easy to overlook the offensiveness of these stereotypes, even as we’re enjoying a time of great change in attitudes about other previously stigmatized groups.”

Personally, I winced when I first heard the guy say “crazy,” but I cover marketing every day, so I may be more attuned to advertising’s potential pitfalls than a casual viewer, or health writer, would be. I must admit, however, that Rosenberg’s second point of contention—the couple’s speedy departure without seeking help for the woman on the porch—eluded me completely. After reading her quotes in other media, though, I can see where she’s coming from, especially given her heightened awareness of mental health issues.

Cultural tastes and sensitives are constantly evolving. Words and images, always powerful, have the potential to trip up content creators like never before. That’s something everyone, especially those of us in the media, should strive to keep in mind.

Perhaps we won’t even be calling it March Madness much longer, though Rosenberg isn’t focused on that particular phrase.

“We are not concerned about the use of ‘March Madness,’ although others might feel differently, and indeed the term might fade out over time,” she tells AdFreak. “We view ‘March Madness’ as referring to a ‘commotion.’ Language is important—but the behavior in the ad is of most concern.”



Butterfinger Bets a Million on Manny Pacquiao to Beat Floyd Mayweather

There’s going to be some heavyweight marketing around the May 2 welterweight title fight between Manny Pacquiao and Floyd Mayweather. And Butterfinger is jumping early into Pacquiao’s corner.

The Nestlé brand on Wednesday sent out an April Fools’ Day press release saying its Butterfinger Cups brand was betting a million on Pacquiao. Now, AdFreak confirms (as Pacquiao will do in a tweet shortly) that the bet is actually a million Butterfinger Cups. If Pacquiao emerges victorious on May 2, Butterfinger will offer 1 million of its peanut butter cups in a nationwide payout at ButterfingerCups.com.

The announcement kicks off a month-long “Get In Our Corner” campaign.

“We’re such fans of what Manny represents and love that he has such a great sense of humor to join us in our April Fools’ Day fun and launch the ‘Get In Our Corner’ campaign,” says Fabiola del Rio, Butterfinger brand manager. “We want fans to get in our corner with Manny and help us celebrate this different kind of competitor.”
 



Wieden + Kennedy Turns Its Website Back 30 Years, but Not for April Fools' Day

April 1 is known most places for pranks. But at Wieden + Kennedy it has a different meaning. The agency was founded on April 1, 1982, and celebrates Founder’s Day on that date each year.

This year it’s done something fun with its website, which might be mistaken for a prank. The whole thing has been recast as a throwback to the agency’s earliest years. Check it out here.

The “Work” section includes 33 pieces of creative from the ’80s and early ’90s (Nike, Speedo, Memorex, Honda). “People” features vintage portraits of W+K staff. “Clients” includes a roster from when the agency had offices in Portland and Philadelphia. And “About” has a great early promo video from the agency’s archives, featuring a young Dan Wieden, David Kennedy, Dave Luhr and Susan Hoffman.

Check out that video below, too.

Adweek responsive video player used on /video.

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Homeless People Read Mean Tweets in This Heartbreaking PSA

People reading mean tweets is turning into a PSA genre.

Last month, the Canadian Safe School Network took Jimmy Kimmel’s hit comedy bit, usually featuring celebrities, and repurposed it as a potent anti-cyberbullying ad. Now, Raising the Roof Canada has upped the ante even further with a stunning and heartbreaking spot about the homeless.

In a perfect world, it would be hard to imagine anyone seriously saying (or typing) the things repeated in the clip. But once again Twitter proves its brief format is the perfect platform for bad wannabe comics and self-absorbed asses (whereas Instagram is the favored choice of glib, blithe fashion editors).

The clip is all the more powerful given that, compared to an in-vogue issue like cyberbullying, homelessness is less visible (at least, online). This ad, created by Leo Burnett Toronto, simply put, succeeds in humanizing the homeless population, and gives at least a small handful of its members a bigger platform. For anyone interested, the campaign website has more videos delving deeper into each person’s reaction, as well as some of their backstories.

Luckily, Twitter, as a company, is doing its part to address the broader issue in San Francisco, too—by planning to teach the homeless to code as part of a tax break obligation.



April Fools' Day 2015: Our Giant Roundup of the Best Brand Hoaxes

April Fools’ Day is one of my favorite advertising holidays. It’s a magical day when brands manage to be smart, relevant and amusing on their smallest budgets of the year. It’s a lesson we could all learn, year round.

With a few exceptions like Google (including YouTube), Virgin and ThinkGeek, which have practically built the day into their business model, most brands are tossing a pittance of their marketing budget toward a daylong prank, just for the fool of it. And there’s something beautifully foolish in that, don’t you think?

See this year’s roundup below. We’ll be updating this story throughout the day. Yee-haw!

(Email me or Tim with pranks that we’ve missed.)



Why This Photo Was the Absolutely Perfect Way to Introduce the Deadpool Costume

On Friday, Ryan Reynolds tweeted out the first picture of the official Deadpool costume with him posing on a bear skin rug, à la Burt Reynolds, and the image is utterly brilliant and perfect in every way. Let me explain.

In 1972, Reynolds became the first male centerfold (some say ever) in Cosmopolitan. The shock wave that rippled through American culture, as women proudly taped the poster to their walls and admitted to the world that they had sexual desires, would spawn Playgirl magazine and change the conversation around sex in America.

Believe it or not, it was a total surprise to a great number of people to learn that women like to look at naked men, just like men like to look at naked women. Of course, it came with a certain amount of notoriety for Mr. Reynolds, and gave Cosmo its modern-day reputation as a bit of a smut magazine. It was so shocking that the next centerfold didn’t appear until 1977, when Arnold graced the pages.

Beyond the shock, everyone at the time knew the image was somewhat of a joke. The bear rug? Clearly a joke—it was poking fun at masculine stereotypes and was chosen by Burt. The chest rug? Not a joke—people liked things hairy in the ’70s. But the point is, the press at the time talked a lot about it being a tounge-in-cheek, tit-for-tat situation. Men had centerfolds to look at, and women deserved them, too. It was only fair. The significance of the image made the sexuality of it moot for many people. This was about equality. (The image has lived on in everything from DirecTV ads to agency copywriter profile pics.)

Referencing the image says a number of things, but first it’s important to know Deadpool is a character who is self-aware. He actually seems to have knowledge of himself as a character in a comic book and knowledge of other characters in other universes. This is pretty unique in the comic-book world. In other words, Deadpool can act like he’s talking directly to other characters, and those characters, who are not self-aware, can’t really talk back.

That’s why Ryan Reynolds, who plays the character, could tweet the official costume with the caption, “With great power comes great irresponsibility.” That’s a direct jab at “With great power comes great responsibility”—a Spider-Man quote often attributed to Uncle Ben (though it first appeared in the narration in an old Spider-Man comic).

So, Deadpool is clearly taking a direct jab at Spider-Man. Who else might he be jabbing at? Well, in the image, we see him laid out in place of a sexual revolutionary, though Deadpool is not showing any skin. That says he’s jabbing at the male sex-symbol image of Captain America, Thor and Iron Man—whose lead male actors have all been celebrated for their sexual appeal. It’s like Deadpool is saying, I’m going to blow your minds with a whole new kind of comic-book man—and the ladies will like me better. It also says, I’m not afraid to break some taboos, reference the real world, and hey, don’t forget, I’m always a little cheeky. That’s just me. And the ladies like a man with a sense of humor, a man who reads Cosmo.

Disney Marvel is smart not to underestimate its fans and recognize the power of taking the piss with the superhero genre. It made a lot of money with Guardians of the Galaxy, and it’ll make more with Deadpool. Adult comic fans like to be talked to like adults. See, we all know how ridiculous our love of superheroes is, but we love them anyway. We love them smart. We love them topical. We love them allegorical.

And for those few who don’t, those who need things at a simpler level, this first image is still brilliant because, “LOL, just l@@k at him on that stupid rug! Hilars!”

Jack in the Box Unveils the World's Largest Coupon, an 8-Story-High Monstrosity

I’m sure we’ve all had some unflattering theories about how Jack in the Box would achieve a Guinness World Record (“Most People Made Uncomfortable by Creepy Mascot” was my guess). But the fast-food chain recently unveiled the world’s largest coupon, made to promote its new Buttery Jack burger.

Yes, Buttery Jack sounds like one of those Dutch holiday monsters invented to scare kids, but it’s actually a quarter-pound burger with garlic herb butter melted on top. It was meant to scare adults!

Anyway, the coupon is 80 feet by 25 feet, and as you can see in the video, it took more than 12 people to carry it through Los Angeles to Hollywood’s W Hotel. A cellphone picture of the coupon counts as a coupon itself, and can be redeemed for a free burger until Wednesday. Oh God, that’s April Fools’ Day. If they have something planned for that, I don’t want to know what it is.



Pennzoil's High-Octane Aerial Stunt Shows a Dodge Drifting on a Floating Platform

Need a lift? Take this cool 90-second Pennzoil spot from J. Walter Thompson for a spin.

Stunt driver Rhys Millen hurtles through the streets of Cape Town, South Africa, in a canary yellow 707 horsepower Dodge Challenger Hellcat for much of the film, called “Airlift Drift,” promoting the client’s synthetic motor oil made from natural gas. Ultimately, his wild ride hits dizzying heights as four helicopters hoist the vehicle on a specially designed asphalt-topped platform. The car continues to drift and burn rubber like mad as it soars through the night sky, past glittering downtown skyscrapers.

That’s one breathtaking aerial exhibition. Suck it, Jaguar!

In fairness, Jag’s high-wire stunt last week above the River Thames, while less riveting, was 100 percent real. Pennzoil’s sky driving—well, obviously, not so much.

“Everything from the get-go was rooted in the idea of realism,” JWT Atlanta ecd Jeremy Jones assures AdFreak. “The load capacity of the helicopters, the chains, the shape of the platform and support beams. It’s all mathematically and theoretically possible.”

If the concept seems familiar, that’s because “Airlift Drift” director Ozan Biron, working here through production firm The Embassy, also directed last year’s “Ultimate Racetrack,” which showcased a BMW M4’s tread-tearing trip around the deck of an aircraft carrier. “We learned he was the magician behind ‘Ultimate Racetrack,’ and we had to have him,” Jones says. “He’s a complete car guy, and pushes the driving to crazy levels. It’s so raw and uncommercial.”

Pennzoil has worked especially hard to avoid category clichés in recent campaigns. “We believe cars have evolved. So should your oil—and oil commercials, for that matter,” says Jones. “There are no product claims, no V.O. bottle pours. We want people to be moved and have a visceral reaction to the film, hear nothing but the sound of the engine being pushed to the limit.”

He adds, “The problem with our category is most people outside of enthusiasts don’t care enough about cars to care which motor oil to use. With this film, we’re hoping to wake people up … to become that little ripple in pop culture and get people to think differently about our brand.”

CREDITS
Client: Pennzoil

Agency: J. Walter Thompson Atlanta
Perry Fair: Chief Creative Officer
Jeremy Jones: Executive Creative Director
Dustin Tamilio: Group Creative Director
John Huddleston: Copywriter
Erin Fillingam: Art Director
Daryll Merchant: Producer
Erin McGivney: Account Director
James Robbins: Senior Planner

Production Company: The Embassy, Vancouver
Director: Ozan Biron
Executive Producer: Trevor Cawood
Editor: Ozan Biron
Assistant Editor / Conformist: Brendan Woollard  (Cycle Media)
Director of Photography: Manoel Ferreira

Visual Effects: Imagine Engine
Visual FX Supervisor – Bernhard Kimbacher
Onset Supervisor  – Neil Impey

Precision Driver: Rhys Millen

Content Production Company: Lemonade Films
Executive Producer: Ted Herman
Production Supervisor: Philip Fyfe

South African Service Company: Uncle Morris Films
Line Producer – Steven St Arnaud
Production Manager – Herman Warnich
Prod Coordinator – Andrea Scott

Colorist: Dave Hussey, Company 3

Sound Design: Charles Deenen, Source Sound LA



The Labels on These Clothes Tell the Tragic Stories of the Workers Who Made Them

The label on a piece of clothing might reveal something about its provenance, but it hardly tells the whole story. The Canadian Fair Trade Network wanted to change that. To draw attention to people around the world who are working in unsafe conditions, these remarkable ads tell their stories on the labels of clothes they make. Powerful work by from agency Rethink.

The label above reads:

100% cotton. Made in Sierra Leone by Tejan. The first few times he coughed up blood he hid it from his family. They couldn’t afford medical treatment and he couldn’t risk losing his long-time job at the cotton plantation. When he fell into a seizure one day it could no longer be ignored. The diagnosis was pesticide poisoning. The lack of proper protective clothing has left him with leukemia at the age of 34. He has two daughters. One of them starts work at the factory next year. The label doesn’t tell the whole story.

See two more ads below.

100% cotton. Made in Bangladesh by Joya who left school at the age of twelve to help support her two brothers and newly widowed mother. Her father was killed when a fire ripped through the cotton factory where he works. She now works in the building across the street from the burned down factory. A constant reminder of the risk she takes everyday. The label doesn’t tell the whole story.
 

100% cotton. Made in Cambodia by Behnly, nine years old. He gets up at 5:00 am every morning to make his way to the garment factory where he works. It will be dark when he arrives and dark when he leaves. He dresses lightly because the temperature in the room he works reaches 30 degrees. The dust in the room fills his nose and mouth. He will make less than a dollar, for a day spent slowly suffocating. A mask would cost the company ten cents. The label doesn’t tell the whole story.

CREDITS
Client: Canadian Fair Trade Network
Agency: Rethink, Toronto/Vancouver/Montréal
Creative Directors: Ian Grais, Chris Staples
Art Director: Leia Rogers
Writer: Arrabelle Stravoff, Danielle Haythorne
Print Producers: Cary Emley, Sue Wilkinson
Photographer: Clinton Hussey
Studio Artist/Typographer: Jonathon Cesar
Account Manager Albane Rousellot



Intuit Brews a Special Beer for Accountants Only Called CPA IPA

Tax season is hell for accountants. But in Rhode Island this year, it’s been a little less brutal than usual, thanks to this fun promotion by Intuit.

Intuit makes software called QuickBooks Online Accountant, which helps accountants manage and support clients in one place. To promote it, the company partnered with a local brewery to make a special beer for accountants only—CPA IPA. It then bought ads in the Rhode Island press touting happy hours across the state, where accountants enjoyed some free beer to de-stress. (Intuit chose Rhode Island because it’s a smaller market and because craft beer is big in the Northeast.)

Of course, only one ad agency could possibly make a CPA IPA. Yes, it was done by RPA.

More images and a video below.

CREDITS
Client: Intuit
Agency: RPA
EVP, CCO: Joe Baratelli
SVP, GCDs: Nathan Crow, Adam Lowrey
ACDs: Joao Medeiros, Alex Goulart
Designer: Lauren Geschke
Sr. Art Director: Jessie Echon
Photographer: Mark Tripp
Art Buyer: Jessica Fedynyshyn
Producer: Annie Boyle



Taking a Selfie Can Now Protect the California Coast, Thanks to This Ad Campaign

Selfies, by definition, aren’t selfless. But now, in California, you can do some good for the environment, not just for yourself, by snapping a pic along the coastline.

Gyro San Francisco has created a campaign called “Check the Coast” that encourages people to make a checkmark sign while taking a selfie at the shore, and then include #CheckTheCoast and CheckTheCoast.org when posting it. This is intended to raise awareness of a special box on California tax forms that you can check to make a donation to the California Coastal Commission.

The campaign recruited actor Adrian Grenier (Entourage) and surfer-activist Sunshine in the Fog (yep, that’s her name) to appear in ads for the cause.

“What I like about this campaign is how positive it is,” Gyro executive creative director Steffan Postaer writes on his blog. “Absent are images of the goo-infested birds washing up in the East Bay. Or the scary amount of emaciated sea lion pups beaching themselves near Point Reyes. No tangled fishing lines or plastic rings. No dead fish. That crap is happening and we all know it. Yet, we decided to eschew the appeal of grim reality in favor of a more upbeat approach, one that asked little from its participants: merely a selfie and a buck or two.”



Ava the Robot Goes From Tinder to LinkedIn, and Will Now Schedule Meetings for You

Ava, the artificial intelligence from the movie Ex Machina who famously punked Tinder users during South by Southwest, isn’t interested only in dating. She also has a business side, it turns out—and she wants to help schedule your next meetings.

A24 Films, the company behind Ex Machina, has extended Ava’s off-screen antics through a partnership with A.I.-driven personal assistant startup x.ai. If you’ve seen the Spike Jonze movie Her, you’ll have an inkling of what x.ai does. It offers users a personal assistant named Amy—who’s actually an A.I., but who can schedule meetings like she’s a real human.

When you’re emailing with someone and you want to schedule a meeting with them, you just cc: amy@x.ai, and she takes it from there. (Scroll down to see how x.ai explains the process in more detail.)

Now, Ava is joining Amy as the company’s second A.I. personal assistant. Just copy ava@x.ai, and she’ll schedule the meetings for you. She’s even got her own LinkedIn page. Her gig with x.ai is temporary, though. It only goes through April 30, at which point she’ll probably start randomly friending people on Facebook.



American Greetings Hopes to Provoke a Groundswell of Gratitude With the ThankList

American Greetings goes all-in with ThankList, an immersive multimedia experience from Mullen that encourages people to thank those who’ve made an impact on their lives.

Two-time Oscar winner Barbara Kopple (for the documentaries Harlan County USA and American Dream) created five short films through production house Nonfiction Unlimited for the campaign, each focused on a different individual’s ThankList. The subjects thank friends, family and mentors for helping them through hard times and making them who they are today.

Overcoming major life obstacles is a common theme. A young woman named Lexi thanks her mom for helping her beat a serious eating disorder, while Ron, a middle-aged cancer survivor, tells viewers how his family’s love and support sustained him when, at age 13, doctors told him he’d soon die from his illness.

The tales are a varied lot, all compelling and well-told, but the story of Air Force pilot Cholene stands out as an emotional powerhouse. She thanks her foster son Keer—who was cruelly blinded as a young boy when sold into slavery in south Sudan, but has since regained some sight after surgery—for making her a “better person … much more sensitive and committed and grateful for my own life.” A gifted musician, Keer is shown playing drums and piano and says, “Music is a vibration of happiness.”

This story is so intense, you may have to take a few minutes to comport yourself before continuing your day and, perhaps, jumping on the ThankList site to create a video or text list of your own. These submissions, according to American Greetings, will be aggregated into “a collective, never-ending ThankList.”

For a purveyor of greeting cards and party favors, American Greetings is certainly thinking large and interactive with ThankList—way beyond the scope of its lauded, mega-viral “World’s Toughest Job” campaign for Mother’s Day last year. That video has amassed more than 23 million YouTube views and became something of a cultural phenomenon. ThankList probably won’t scale those heights, but the trailer’s topped 600,000 views in its first week, and Ron’s story has more than 500,000.

“Creating more meaningful connections between people isn’t simply something we believe in,” explains client president and COO John Beeder. “It’s something we are actively doing, and ThankList is the perfect way to demonstrate that practicing gratitude is easy and impactful.”

Gratitude has, in fact, become an advertising sub-genre of late. ThankList treads a trail blazed by European funeral insurer Dela—though its extremely moving, award-winning “thank-you” films can feel a tad stagey—and MetLife, which recently asked people to say who they “live for.” (American Greetings’ own “World’s Toughest Job” apparently inspired a recent mom-focused initiative from Teleflora.)

Of course, like all advertising, these initiatives are ultimately self-serving. Still, their hearts are in the right place, and I’ll gladly march to the beat. After all, the human condition can sometimes feel so thankless. Perhaps ThankList and similar campaigns will, to some degree, help make the world a kinder, more thoughtful place. I think we’d all be thankful for that.



This Beautiful PSA From Spain About Embracing Life Keeps You Guessing Until the End

A new Spanish PSA from Publicis wants you love life, and not ruin it entirely.

Hang picture frames, go running through the woods, get a tattoo, play rugby or hang out on a mattress somewhere. There’s plenty to keep you occupied—and away from darker choices—says the ad, which in some ways recalls the vibe of Puma’s “After Hours Athlete” and Levi’s “Go Forth” work.

The moralistic kicker, necessary as it may be, doesn’t seem ideal—and could turn teenagers off. Also, the spot might miscalculate just how many free hours kids can have to waste. But hopefully the message gets through anyways.

CREDITS
Directors: Marc Corominas, Lorena Medina
Client: FAD
Agency: Publicis
DOP: Oriol Vila
Art Director: Oian Arteta
Wardrobe: Ana Morera
Makeup: Oona Napier
Head of Production: Marta Antón
Head of Postproduction: Tamara Díaz
Assistant Director: Israel Marco
Production Team: Carles Pequerul, Ángela Puig-Pey, David Bello, María Asensio, Ana Terrero, Andrià Nebot, Eli Apezteguia, Sivila Arimany
Camera and Photography Team: Agnes Corbera (DOP assistant), Sergio Santana (Camera Assistant), Pablo Lagos (Camera Assistant), Moncho Bartroli (Electrics Head)
Warbrobe Team: Andrea Pi Sunyer (Assistant Wardrobe)
Art Team: Alexandra Jordana (Art Assistant), Cristina Hontiyuelo (Props), Anna Auquer (Props)
Rental Cars: Quadis
Travel Agency: IEST
Postproduction Coordination: Metropolitana



Pep Boys Mechanics Reflect on Gender in SNL's Perfect Spoof of Starbucks' 'Race Together'

The Internet didn’t tolerate Starbucks’ #RaceTogether promotion about racial awereness, and the coffee giant swiftly ditched the effort. But Saturday Night Live took notice, and brilliantly skewered the overly simplistic campaign this weekend.

SNL took it to a comically exaggerated level, imagining a group of Pep Boys employees trying to begin a dialogue about gender and sexual identity with folks just trying to get their oil changed. “If you got both parts down there, then be proud. If I had both, I’d be doin’ myself all day long,” says Aidy Bryant’s charmingly ignorant character, fully embracing the fake #genderflect crusade. 

SNL has been hitting edgy topics with its fake ads lately, and this one really nails it.



Here Are 3 Fun New 'Be Like Mike' Gatorade Ads to Go With the Remastered One

Can we be even more like Mike?

Gatorade’s 50th anniversary celebration continues with three spots from TBWAChiatDay, each reimagining the iconic Michael Jordan-inspired “Be Like Mike” jingle we’ve been humming for nearly a quarter century.

An impressively remastered version of the original Bayer Bess Vanderwarker ad from 1992 was unveiled last month during the NBA’s All-Star weekend. Visuals from that spot appear in these three new commercials, but each has its own unique vibe.

“Groove Like Mike,” my favorite, feels like the ’70s, with retro-cool animations and a righteously funky take on the song. “Move Like Mike” finds gym rats, inspired by footage of No. 23 playing on monitors around the place, working out and scrimmaging to subtly insistent beats. (Maybe the NBA will adopt that backboard video screen to blast ads during games.) “Dream Like Mike” shows a kid playing driveway hoops against MJ, a bold mix of “Be Like Mike” driving him to new heights.

The clips are fun, multilayered and reward multiple plays. Animal Music did a fine job with the remixes, giving all three versions a fresh sound while staying true to the spirit of the original. There’s just one problem. Now, that damn song will be stuck in my head for at least another 23 years!

CREDITS
Client: Gatorade
Agency: TBWAChiatDay, Los Angeles
Creative Director: Renato Fernandez
Art Director: Pierce Thiot
Copywriter: Scott Cleveland
Producer: Garrison Askew
Music Production Company: Animal Music