Here's the SNL Parody Ad for ISIS That Pissed Off Half the Internet This Weekend

This Saturday Night Live ad parody, in which a dad (Taran Killam) drops off his daughter (Dakota Johnson) to join ISIS, sparked a raging debate this weekend on social media.

The sketch lampoons Toyota’s “My Bold Dad” Super Bowl ad for the Camry, which showed a proud father driving his daughter to the airport as she begins her hitch in the U.S. Army. In SNL’s skit, the dad urges his daughter to “Be careful, OK?” as she climbs into a rough-terrain vehicle with three heavily armed, scraggy-bearded jihadi types. “ISIS. We’ll take it from here, Dad,” is the tagline.

Detractors argue that the radical Islamist group’s atrocities are too heinous, and too freshly carved into our collective psyche, for the comedy treatment. They believe the parody is offensive, or at least in bad taste. Defenders applaud SNL’s bold decision to court controversy in its quest for laughs. (This camp includes Arsenio Hall, who tweeted that the sketch was “#hilarious.”)

Personally, I wouldn’t use the word “hilarious,” even without the hashtag. Its savage satire will, however, get under your skin—and maybe even make your skin crawl. That’s a good thing. Western teenagers and young adults (like Jihadi John) who choose to join extremist groups only recently hit global headlines. We’re in new and unfamiliar territory, processing gut-wrenching details and struggling, as individuals and as a society, to understand.

That’s why the debate is so important. And so wonderful. We should never have to reach a “safe place” or stoop to group think as we parse provocative concepts. SNL is free to say whatever it wants, and viewers are equally free to express their agreement or take umbrage. Jousting in the marketplace of ideas, defending our opinions with fierce passion—that’s what America is all about. Or should be all about, at any rate.



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



Do Competing Bottled Water Brands Actually Taste Different? Rhett & Link Find Out

Rhett & Link will slake your thirst for goofy, brand-inspired comedy in the “Ultimate Water Taste Test,” a wonderfully wet episode of their “Good Mythical Morning” YouTube show.

The guys, best known for their brilliantly bad local commercials, compete against each other to identify seven varieties of water. They sample five brands: Dasani, Evian, Fiji, Smart Water and Blk Water. (“It’s not from a river in Alabama,” Rhett quips, but infused with fulvic powder, “whatever that is.”) There’s also pond water from Echo Park in Los Angeles and H2O straight from the tap.

The duo don a dual-action water-tasting apparatus—basically hardhats and two hoses for drinking—that actually connects their heads, making them look, Link notes, “like two construction workers talked into doing some kind of scuba trust exercise.”

Once the blind water taste test begins, the snark pours forth.

“It’s got a flowed-down-through-snow-in-the-Alps kind of a feel to it.”
“There’s an elevation in this taste—this is from up high, not from down below.”
“Tastes like clouds.”
“I can taste vapor distillation.”
“If somebody’s selling this, they need to stop immediately.”

You’ll have to watch the 15-minute segment—streaming rapidly toward 1 million YouTube views in just two days—to see how many of the seven they correctly identify. Be sure to hang in for the refreshingly honest “Neither Water” spoof commercial at the end, which drives home the point that, when you’re truly parched, branding doesn’t matter.



'15 Sounds Nice?' Nike Golf Has Some Fun With 14-Time Major Winner Tiger Woods

Tiger Woods has been having a rough time for about half a decade. He’s been stuck on 14 major championships since 2008, but it’s good to know he can poke a little fun at himself.

Tiger gives his pursuit of No. 15 a quick, humorous mention in this very entertaining Nike Golf spot from Wieden + Kennedy, which also stars Rory McIlroy, Michelle Wie, Charles Barkley and Bo Jackson (who utters a certain familiar phrase from an old, old, old W+K campaign for Nike). Comedian Keegan-Michael Key provides the voiceover.

The ad, for Nike’s Vapor driver, takes a humorous look at why golfers of all skill levels might want to change their driver.

CREDITS
Client: Nike Golf
Project: There’s Always Better

—TV
Agency: Wieden + Kennedy, Portland, Ore.
Creative Directors: Chris Groom / Stuart Brown
Copywriter: Brock Kirby
Art Director: Derrick Ho
Producer: Jeff Selis
Interactive Strategy: Reid Schilperoort
Strategic Planning: Andy Lindblade / Brandon Thornton
Media/Comms Planning: Alex Dobson / Jocelyn Reist
Account Team: Alyssa Ramsey / Rob Archibald / Heather Morba / Ramiro Del-Cid
Business Affaires: Dusty Slowik
Project Management: Nancy Rea
Executive Creative Directors: Joe Staples / Mark Fizloff
Head of Production: Ben Grylewicz

Production Company: Biscuit Filmworks
Director: Steve Rogers
Executive Producer: Holly Vega
Line Producer: Vincent Landay
Director of Photography: Nicolas Karakatsanis

Editorial Company: Joint Editorial
Editor: Matthew Hilber,
Post Producer: Leslie Carthy
Post Executive Producer: Patty Brebner

VFX Company: The Mill
VFX Supervisor: Tim Davies
VFX Producer: Will Lemmon

Music+Sound Company: Barking Owl

—Digital/Interactive

Agency: Wieden + Kennedy, Portland, Ore.
Creative Director: Chris Groom / Stuart Brown
Copywriter: Brock Kirby
Art Director: Derrick Ho
Producer: Jeff Selis
Interactive Strategy: Reid Schilperoort
Strategic Planning: Andy Lindblade / Brandon Thornton
Media/Comms Planning: Alex Dobson / Jocelyn Reist
Account Team: Alyssa Ramsey / Rob Archibald / Heather Morba / Ramiro Del-Cid
Executive Creative Directors: Joe Staples / Mark Fitzloff
Agency Executive Producer: Ben Grylewicz
Digital Designer: Rob Mumford
Exec Interactive Producer: Patrick Marzullo
Content Producer : Byron Oshiro / Sarah Gamazo
Broadcast: Jeff Selis
Art Buying: Amy Berriochoa
Photographer: Henrique Plantikow
Interactive Studio Artist: Adam Sirkin, Oliver Rokoff



Every Brand Wanted a Piece of #TheDress, but Who Wore It Best?

What a day the Internet had yesterday. First we by MacVx”>watched llamas on the loose. Then, just after 6 p.m., BuzzFeed posted what might be its single most-shared article ever: “What Colors Are This Dress.”

If you’re unaware—which is impossible, unless you live in a cave—the story pointed to a Tumblr discussion about the color of a dress. Welp, the Internet exploded—and so did the brands, which swarmed the topic like flies.

See some of the tweets below. Hooray for net neutrality! I guess?
 

 
 



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



Apple Watch Gets Its First Advertising With a Stylish 12-Page Spread in Vogue

Apple Watch gets a 12-page spread in the March issue of Vogue, part of the run-up to the wearable device’s launch in April. Rate-card value: north of $2.2 million.

All three versions of the watch—the luxe 18-karat gold model, a sports watch and the leather-bound standard edition—are featured in the magazine’s “Spring Fashion Blockbuster,” and the images we’ve seen so far look appropriately stylish. (Scroll down to see for a sample of pages from the ad section.)

The sleek, angular devices are tastefully displayed in classic Apple style against plain white backgrounds. In one shot, the watch’s face appears to rise from a milky mist, the muted hues of its app icons signaling its time has arrived. Another shows a rising segment of the band in stark relief, suggesting a silvery stairway to heaven (by which I mean the nearest Apple Store, naturally).

More than anything, these arty abstractions resemble jewelry advertising, with the Apple Watch cast as the latest shiny bauble for the tech-crazed masses. Tres chic! Tres Apple!

Observers have generally lauded the strategy of positioning the watch as a fashion accessory, though some point out that Google Glass went the Vogue route with a spread two years ago and failed to catch on with the masses.

In my view, that’s an unfair comparison. The failure of Google Glass has been analyzed to death, but ultimately, its lack of “cool”—perched on users’ faces, for everyone to see—was perhaps a fatal, if unavoidable, flaw.

Apple Watch, a far more discreet wearable, won’t provide such a sorry spectacle. Like fine timepieces of old, it’s designed to be admired while remaining unobtrusive. Folks who catch a glimpse of the gadget won’t confer Glasshole-type scorn on wearers. Instead, the device will inspire curiosity and a desire to buy.

It will be in vogue in for years. Just watch.



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

 



Twerking Butt Cheeks Slap Out Phat Beats in Seriously Jiggly Ad for Headphones


My late grandfather once told me, “There’s an ass for every seat.” Not until today did I truly know what he meant.

Just when you thought Miley had ruined twerking for everyone, the folks at AIAIAI headphones raise the bar for rump awareness with their latest project, “Real Booty Music.” Music producer Branko (from Buraka Som Sistema) attached sensors to Twerk Queen Louise’s derrière and harnessed the movement of—well, butt cheeks—to create new music. 

It really is something to behold.

The company says: “The overall idea behind the project was to provide AIAIAI headphone users and other music lovers with new music. Moreover, we wanted to do this in an unusual way, which brought about music made by the booty—for the booty. The project explores the rich heritage of bass-driven club culture, where dancing and booty shaking are integral elements. We want to see if it’s possible to change the perception of twerking through placing it in a technology-driven, creative context and letting the dance ‘do the talking.’ “

In the event that the video simply whetted your appetite for the track, check it out:

Via Ads of the World.

CREDITS
Client: AIAIAI
Creative Director / Art Director: Peter Michael Willer
Copywriter: Ulrik Nørgaard
Artist: Branko
Dancer: Twerk Queen Louise
Creative Technology Design: Pieter-Jan Pieters / Owow
Engineers: Joep le Blanc, Alex Tsamakos
Film Director: Mike Nybroe
Webdesigner: Andy Borglind
Published: February 2015



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.



Bill Lumbergh of Office Space Is Back, and Still a Clueless Prick, in Ads for HipChat Software

Given how much advertising loves office humor, it’s a bit surprising that characters from Office Space haven’t been revived more often for commercials. Bill Lumbergh, in particular—the 1999 film’s most broadly drawn corporate caricature—is great for a laugh. Yet the character, played by Gary Cole, has shown up only once in an ad—for State Farm, a few years ago—and didn’t even deliver much of his signature drawling babble.

Now, Atlassian corrects that with this campaign for HipChat—software that facilitates internal communication at the workplace, including live chat.In the 90-second spot below, Lumbergh has brought in his employees on Labor Day to discuss how they can work better. Instead of using HipChat, he wants more meetings and more emails—and for the latter, “more bulk on your threads.” Mmm-kay?

The onscreen tagline at the end is: “Don’t work in the past.”

The campaign, by San Francisco creative agency Brass Ideas, will also include :15s and :30s, banner ads and out-of-home, though not TPS reports.



Whoa, This Weird Retro Ad Imagines Birdman as a Real Action Figure

Last fall, Fox Searchlight gave away limited-edition Birdman action figures as part of its marketing for the movie. Now, the Best Picture Oscar winner is reopening in cinemas—and getting a dose of new marketing, including a commercial for those toys.

It’s a fun little morsel of ’90s nostalgia—a parody of old Saturday morning toy ads. And like the film it’s promoting, it’s a multi-layered gem. It has more cuts than the entire movie, though, and also has young children (certainly not the target demo of the R-rated film itself). This is surely a nod to the original Birdman cartoon from the ’60s and the subsequent Adult Swim reboot.

“Hey kids! You too can now defeat Birdman’s arch-nemesis The Condor with this spiffy Birdman Action Figure! Batteries not included,” says the YouTube page, which goes on to mention that Birdman reopens in theaters this weekend.

Check out the ad, but don’t get too close—it “smells like balls.”

And for more Birdman action figure goodness, check out BirdmanSpeaks.com—and click on the speech bubbles. But make sure you have headphones. This isn’t G-rated stuff.



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.



Cottonelle Wants You to Go Commando and Not Throw Your Panties at New Kids on the Block

Cottonelle wants you to “go commando.” That’s right, the toilet paper brand says you should walk around without underwear because its CleanRipple texture imparts a superior clean.

In fact, they’ve hired documentary filmmaker and British accent possessor Cherry Healey to intercept random people who’ve just used the toilet and ask them to go commando.  Whereupon they hide in a little popup tent, take off their underpants and receive an undies storage baggie and some Cottonelle—in stunts that are both bizarre and amusing.

I can only surmise that part of the reason they picked Healey is because Poo-Pourri’s success taught marketers that Americans like it when potty humor is delivered via a British accent. In fact, Time Out recently found that British accents are considered the most sexy.

Speaking of sexy, Cottonelle isn’t just doing this commando stuff to hawk its product. It’s doing it for the good of musicians everywhere. Musicians who have been much maligned by the odious habit women have of throwing our undergarments on stage. Musicians like New Kids on the Block, who kicked off the Cottonelle campaign on Feb. 15 with an intimate concert that didn’t get intimate enough for underwear throwing.

The Kimberly-Clark brand will be joining the first leg of the NKOTB summer tour to offer “an elevated bathroom experience,” and surprise meets and greets with the boys—which presumably only happen if you agree to remove your underwear ahead of time. Meow.

So, if you want to trust your butt to clean ripple, challenge a friend with a free sample, or just want to browse a lot of pictures of people showing side-hip to prove their not wearing underwear, head over to Cottonelle’s website. And take a moment to wonder about this new trend in bathroom humor that’s sweeping marketing.

CREDITS
—TV
Director: Fred Goss
Production Company: Company Films
Editor: Matt Walsh
Editorial Company: Cutters
Sound: John Binder
Sound Studio: Another Country
Agency: Trisect
CCO: Chris Cancel
CSO: Gabe Misarti
ECD: Kevin Hughes
GCD: Mel Routhier
Sr. CW: Dan Lewis
Sr. AD: Garrett Fleming
CW: Aaron Vick
Group Acct Director: Soraya Faber
Acct Director: Meg Graeff
Strategic Planning Director: Danielle Simon
Producer: Corrine Serritella

—Print
Photographer: Liz Von Hoene
Studio: Stockland Martel
Retoucher: Kellie Kulton
Agency: Trisect
CCO: Chris Cancilla
CSO: Gabe Misarti
ECD: Kevin Hughes
GCD: Mel Routhier
Sr. CW: Dan Lewis
Sr. AD: Garrett Fleming
CW: Aaron Vick
Group Acct Director: Soraya Faber
Account Director: Meg Graeff
Strategic Planning Director: Danielle Simon
Producer: Corrine Serritella



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.



This Agency's Weekly 'Clean the Fridge' Emails Are a Thing of Beauty

No workplace email gets trashed faster than a mass reminder to clean out the company refrigerator. Heck, I wouldn’t even bother to open one. (Such an email, I mean. The fridge—I’d open that, sure. I’ve got to stow my Limburger-onion hoagies someplace.)

At Boston agency Allen & Gerritsen, however, the weekly “Clean the fridge” emails are savored like delicacies thanks to facilities associate Mike Boston, who also happens to be a local hip-hop artist. Each Friday, Boston (yes, it’s his name and where he lives, deal with it) cooks up a sweet confection of pop-culture references, employee/client riffs and in-jokes designed to remind staff to remove their leftovers from the premises.

His couplets blow the doors off the fridge:
“Chickens go from so sad to so mad, it’s so bad
Clucking ’round the ham like a nomad with no dad.”

And they expose moldy (nay, “fuzzy”) dregs to the masses:
“Those cuddly-wuddly eyes! How could I deny you?
Spoon-fed with hummus love.
Where in the fridge’d they hide you?”

Tasty puns are on the menu:
“Clean your spoon wisely.
Fork you and have a knife day!”

As are some appetizing free verse reminders:
“Please claim your food in the refrigerators or label it.
This is the one time it’s ok to put a label on things.”

Lest anyone think Boston is just a bard of the break room, he’s begun to put his stamp on the agency’s creative product, writing and recording a track for the Boston Celtics’ “Green Runs Deep” campaign.

Check out a few of his full emails below. Dude’s rhymes are fresh. Even if the food isn’t.

Photo: Indi Samarajiva/Flickr



Honda Teaches You to Speed Read in Three Ads That Go Faster and Faster

Honda teaches you to speed read in a series of ads which—in a nice nod to its vehicles—keep accelerating if you’re up for a challenge.

Apps have revolutionized speed read lately by displaying a single word on the screen at a time, one right after another in rapid succession. Partly because this reduces eye movement, these apps help readers not just beat but destroy the average reading pace of 220 words per minute. (Most of the apps default to 250 words a minute to start.)

The Honda campaign, from Wieden + Kennedy in London, uses the same technique—with the on-screen copy that flashes by in a trim, minimalist 40-second spot. A second ad lasts 30 seconds, with the text moving that much quicker. A third and final ad lasts just 20 seconds. (It’s kind of a shame there aren’t more. I was prepared to see how fast I could really go.)

The three spots combined have more than half a million YouTube views in a couple of days. That’s some speedy likes for some speedy reading.



Cannes Lions Says to Bring Your Worst Employees to the Festival Instead of Firing Them

Baffled about what to do with your worst-performing employees? Reward them with a trip to the Cannes Lions festival in the south of France this summer!

That’s the tongue-in-cheek message of the festival’s official ad campaign, which launches Monday. Don’t think of it as a reward. Think of it as an investment in creativity. After all, as the tagline points out, sending underperforming staff to Cannes as delegates is “cheaper than severance.”

Photographer Dan Burn-Forti shot both the print ads and the online videos, created by McCann London.

“Although our campaign is humorous, it makes a very sensible point. Why should being a Cannes Lions delegate be the preserve of the already excellent?” says Rob Doubal, co-president and chief creative officer of McCann London. “If we really want a more creative world, as we all profess, we should also be encouraging the not-so-excellent performers to be inspired by Cannes Lions.”

So, if your boss hasn’t penciled you in for a Cannes trip, now’s the time to evolve your approach from sucking up to just plain sucking.

 
The print ads:

 
The videos: