Mad Men Is Auctioning a Chararacter's Suicide Rope and These 9 Other Weird Props

Mad Men creator Matthew Weiner was nothing if not detail-oriented—each scene had to have the right wardrobe, furniture, tchotchkes, and so forth, for the time period—so it makes sense that at the end of the show’s seven-season run there would be quite a few props leftover.

Roughly 1,400 items are currently up for auction on Screenbid until Aug. 6, and they range from iconic and practical to altogether odd. (Sadly Ginsberg’s nipple isn’t for sale.) 

Here are the weirdest (and yes, there will be spoilers for those who haven’t watched all the way through):

Lane’s Rope — $225

Description: “It all became too much for Lane. He was found in his office late in season five, hanging from this rope just inside the door.” 

Only someone who’s a fan of the macabre would want this. 

Ken’s Eye Patch — $200

 

Description: “The things Ken Cosgrove did for his clients. In the twelfth episode of season six, he returns to the office wearing this eye patch, after a duck hunting trip with his clients at Chevrolet results in him accidentally being shot in the face.” 

Just think about how much sweat from actor Aaron Staton’s face is on that patch. 

Roger’s LSD Sugar Cane Tray — $300 

Description: “Yes, you too can imagine you’re watching the 1919 World Series! From a bathtub! While on LSD! This Suisse Langenthal ceramic plate with golden-colored plating was used to serve Roger and his wife LSD in the sixth episode of season five.” 

If you’re looking to have a trip like Roger, purchasing this tray isn’t the way to do it. Plus, this is certainly more expensive.  

Duck’s Duck Print — $175 

Description: “Herman ‘Duck’ Phillips took his nickname seriously. This is one of two large, framed duck prints we found in his office.”

Duck’s drinking problem makes more and more sense. 

Sally’s Psychiatric Evaluation Folder — $125

Description: “Sally Draper needs a shrink… or so her mother is convinced. Sally exhibits some disturbing behavior in the fifth episode of season four and Betty wastes no time trying to find out what is happening to her little girl. Here is a black folder containing young Sally’s psychiatric evaluation by Dr. Edna Keener.” 

Yes, the psychiatric evaluation of a fictional teenage character is valued at $125. 

Don’s Note to Megan on Whale Picture — $325

Description: “In the ninth episode of season five, Betty discovers this drawing of a harpooned whale (“Why is he smiling?”) and a note from Don to Megan on the back (“Lovely Megan …”). This leads Betty to reveal part of Don’s past to Sally.” 

While the note did factor into the show’s plot in a major way, the actual whale drawing, credited to a young Bobby Draper, really isn’t much better than any other small child would do. 

Joan’s Ceramic Clown in Frame — $100  

Description: “This ceramic Chinese girl sits alone in a black frame, with no back cover. An interesting piece that belonged to Joan.” 

Not even the auctioneers knew how to sell this one. And no one should ever own clown art, even if it belonged to Joan Harris.

Playtex Media Plans —$125

Description: “‘Playtex protects a woman’s touch,’ some excellent work from Sterling Cooper Draper Pryce’s star copywriter Peggy Olson. Here are two of the Playtex Media Plans offered to executives in season four episode eleven of ‘Mad Men.'”

These might be a good investment, if you had a one-on-one pitch meeting with Peggy.  

Don’s Why I’m Quitting Tobacco Newspaper Ad — $3600

Description: “It’s among the more memorable moments in the entire run of “Mad Men.” In the 12th episode of season four, without informing the other partners, Don pens the letter ‘Why I’m Quitting Tobacco,’ which is placed as a full-page ad in the Sept. 16, 1965 edition of The New York Times.” 

Buying this piece of memorabilia isn’t all that odd but its price sure is. 

Don’s Typed Pages About Advertising  $950

Description: “‘It’s bigger than a car. It’s everything.’ In the eighth episode of season six, Don typed this rambling page of thoughts on advertising while in a drug-induced haze.” 

We watched Don Draper pontificate about the ad business for seven seasons. Is it really worth buying a printed version of his Jack Kerouac-esq ramblings, too? 

X-Men Meet Mad Men in Quiznos’ Newest Pop Culture Sandwich

Quiznos' Toasty.tv, a branded content hub that got an early boost from a popular Game of Thrones-House of Cards mashup, is once again pounding together two pop culture icons.

The results of Mad X-Men: Don Draper's Future Past are mixed, but one theme is consistent with the previous video: The main actor (Ross Marquand, who also played Quiznos' Frank Underwood and Rust Cohle in a spot-on AT&T parody) may not look the part, but he sure talks the part.

Somewhat ironically, the video's best scenes are almost pure Mad Men homage, with a random X-Men reference thrown in at the end. (If you're going to put that much effort into Mystique special effects, why waste it being awkward and quasi-homophobic? Eh, it's your money, Quiznos.)

Via Digg.




Site mostra os primeiros projetos de criativos famosos

Há algumas semanas, mostramos por aqui o The Worstfolio, um site criado pela Miami Ad School que reúne os piores projetos dos maiores criativos do mundo. Por um caminho bastante parecido segue Before They Were Famous, que mergulha no portfolio da época de estudante de diversos profissionais, revelando alguns de seus primeiros trabalhos. Spoil alert: não é bonito.

Há pouco tempo no ar, o site foi criado pelas duplas Nathalie Turton e Lorelei Mathias, da Beattie McGuinness Bungay, e Paul Clinton e Daryll Arthur, segundo eles mesmos em busca do próximo trabalho.

Por enquanto, é possível encontrar os primeiros projetos assinados por Daryl Corps, da Droga5, Andrew Cracknell, autor de The Real Mad Men, Stuart Outhwaite e Ben Middleton, da Creature London, Mike Crowe e Rob Messeter, da Adam & Eve/ DDB, e Josh Engmann, da Mother NY, entre outros.

Entre os “criativos famosos” há, curiosamente, uma foto de Don Draper. Ao clicar nela, a descrição e uma promessa: “Diretor Criativo Executivo da Sterling Cooper Draper Pryce – Em breve – De verdade. Nós temos um plano ardiloso para conseguirmos os primeiros rabiscos de Don Draper”. É aguardar para ver o que vem por aí.

Há, ainda, uma seção que mostra os emails dos criativos que declinaram a “oportunidade” de mostrar seus primeiros trabalhos, alguns dizendo que não sabem onde estão suas pastas, outros dizendo que têm vergonha… De certa forma, é uma pena. Afinal, seria mais uma ótima oportunidade para quem está começando na área ver que ninguém é fodão logo de cara.

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Brainstorm9Post originalmente publicado no Brainstorm #9
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Traditional Agency Model – It’s Been Good Knowin’ Ya!

mad_men-showI love the TV show “MadMen,” mostly because it’s a reminder of a quaint time in the history of our industry – big accounts, big egos, and big paychecks. Of course, at that time, advertising was limited to print and radio, as well as the “new” medium of TV.

Flash forward nearly 60 years to 2009. Magazines and newspapers are folding left and right, radio seems to have a limited shelf life, and TV is too expensive for many potential advertisers. While agencies like the fictional Sterling Cooper still exist, they’re working to hold their own against relative upstarts – the small boutique agencies that specialize in digital and social media. What would Don Draper do – get a Twitter account and attend PodCamp instead of chasing secretaries and boozing?

Traditional agencies are downsizing – many have considerably smaller employee rosters and account lists – while smaller agencies are flourishing due to the focus of specialists such as brand evangelists, social anthropologists, and relationship managers. Their primary methodologies engage the consumer through digital, mobile, and direct mail, then supplement campaigns with broadcast, print, out-of-home, and outdoor.  These small shops seem to get it as they can implement a specialized yet multi-faceted approach for clients.  Think of it as one-stop-shopping and the agencies that can’t keep up with the so-called little guys are folding quickly.

So what does this mean to traditional agencies? Is it the end of the line for them? Or can they peacefully co-exist with this new agency hybrid?

Sara Barton is a copywriter, social media strategist, and avid blogger who is in search of her next opportunity. Contact her via Twitter, LinkedIn, or her blog.