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Breaking News in Advertising, Media and Technology

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    Kim Kardashian, the new spokeswoman for T-Mobile, will have an old pal joining her in the Super Bowl commercials, as Lindsay Lohan has been unveiled as the star of Leo Burnett's Esurance spot.

    Lohan gives a short interview in a teaser released this afternoon, in which she talks about being grateful to return to Los Angeles to shoot something on film, having recently been doing some stage work in London. She's also seen being filmed behind the wheel of a car, appearing to talk to the camera.

    "I think with acting, you always get an itch and you can't stop," she says. "Once it hits you, then you don't want to leave. So I kept saying, 'No, I'm not done yet. No no no, we can do another.' " (It sounds like Burnett did multiple takes of the spot.)



    As we mentioned earlier this week, Esurance has bought an in-game spot this year—after having great success last year running an ad with John Krasinski in the first pod after the game, and tying a $1.5 million cash giveaway to it.

    The full commercial with Lohan, 28, will premiere during the game on Sunday.


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    After a year away, Skechers will return to the Super Bowl on Sunday with a 15-second spot starring Pete Rose, who good-naturedly pokes fun at his continuing exclusion from baseball's Hall of Fame—with help from fiancée Kiana Kim.

    See the ad, which promotes the brand's Relaxed Fit footwear, below.

    "Pete isn't just a baseball legend, he's an American icon—and there's no better place for an American icon than the Super Bowl," Michael Greenberg, president of Skechers, said in a statement. "Besides, what better place is there for Pete to state his case for the Hall? Maybe the hundred million plus people watching will turn the tide."



    "I am thrilled that people around the world will get to see me walk a hall—even though it may not be THE Hall!" added Rose, 73. "I can't say the Super Bowl was on my bucket list, but I'm certainly glad to be there."

    This is the footwear company's fifth appearance in the game, after four straight from 2010 to 2013, and a break in 2014. Its 2010 spot starred Joe Montana, followed by Kim Kardashian in 2011 (who's back this year with T-Mobile). The brand went with animals the following two years—a pug in 2012 and a cheetah in 2013.


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    These are the voyages of Priceline's Negotiator. His 17-year mission: To seek out the best travel deals, and boldly pitch like no man has pitched before.

    William Shatner returns Sunday during NBC's Super Bowl pregame coverage in his long-running role as spokesman for the online travel site. Kaley Cuoco-Sweeting also beams down for an appearance as the Negotiator's daughter in this 30-second spot from Butler, Shine, Stern and Partners. On game day, it won't leave you feeling deflated. (Or you can just enjoy it here and now. Whatever.)



    After nearly two decades, the template is well established. Shats goofs around in his gloriously self-conscious style … and, well, what else do you need? In this one, he strolls through various hotel lobbies, changes hats a lot and puts some dude in a headlock. (The Gorn can commiserate.)

    If any other actor indulged in such hackneyed horseplay, it'd be a travesty. But this is Shatner. As always, he serves up the ham with a succulent glaze.


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    With no shortage of new advertising coming from McDonald's (for better or worse), it can't come as much of a surprise that it's joined Super Bowl lineup, too.

    Following a teaser earlier in the week that suggested customers would soon have a new way to pay at McDonald's, the chain has now unveiled the full spot from Leo Burnett—explaining the mystery currency.

    Check it out below.



    With this spin on the "I'm lovin' it" idea, McDonald's is putting its money where its mouth is. Instead of cash, it asks random patrons to pay by showing acts of love—calling their mom, hugging, doing a dance or praising their friends and family. The idea will extend to some real-world stores through Valentine's Day.

    It's certainly a cute and wholesome idea. I hope they come to Adweek's local McDonald's on 4th Avenue and St. Mark's Place, where everyone could really use some more lovin'.

    I also wonder how will this go over in Nevada, one of the few places where it's already legal to pay with lovin'.


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    Reebok and Venables Bell & Partners really work up a sweat for "Be More Human," an integrated global campaign that celebrates ordinary people who use sports and fitness in their quest for personal fulfillment and to serve the greater good.

    In the lead spot, "Freak Show," folks wake in the wee hours or stay out long after dark, risking pain and injury, pushing themselves to the physical and emotional limit. Muscles pump and strain. Blisters rise. Bodies bob in the slimy shallows of Reebok's muddy Spartan Race competition. Perspiration flies everywhere.

    "We do it to be better. Period," explains the voiceover on the commercial, which airs Sunday during NBC's Super Bowl pregame coverage. Such commitment, we're told, builds "better leaders. Better parents. Better, stronger, more determined humans, capable of anything."



    Director A.G. Rojas employs muted hues and smooth pacing to set just the right mood, distancing these images of personal striving and sacrifice from, say, the glitz and glamour of professional sports. Rojas mixes in shots of firefighters and busy families to forge the all-important connection, linking the obsessive workouts and weekend-warrior contests with aspects of daily living. For these folks, the physical and mental investment in being "more human" is worth the price, and they wouldn't have it any other way.

    "By adopting such a lifestyle, you find yourself in a community of people joined together by a common purpose—to be better versions of themselves," says Matt O'Toole, Reebok's brand president. "We're confident that when we push ourselves, we not only transform our bodies, we transform our entire lives."

    Apart from "Freak Show," the campaign has many other elements for consumers to explore, including inspirational clips ("Dig Deep!" "Honor Your Body!"), a "Human Score" video (presenting a test "designed to distill our humanness to a numeric value"), and the "Be More Human Online Experience," a cross-channel platform loaded with tools, information and activities. Even Reebok's logo has undergone a transformation. Now, it's a delta, with sides representing the physical, mental and social change that can be achieved through fitness and healthy living.

    Of course, the basic theme isn't new. Nike's "Find Your Greatness" campaign, celebrating everyday athletes and timed to the 2012 London Olympics, was a nod in the same direction. "Be More Human," however, takes the premise to epic heights—like Nike-Plus to the nth-degree—positioning Reebok as a de facto fitness and lifestyle partner for the masses.

    Frankly, I feel torn. On the one hand, any push for growth and enlightenment is a good thing. So Reebok, a brand which has often stood for nothing, does itself a service by aiming high. That said, there's a holier-than-thou (or maybe it's a bully-on-the-playground) subtext, suggesting, perhaps, that those of us who'd rather not blow out our hammies traipsing through the muck are somehow less human than those who would.

    Should any brand, no matter how well intentioned, attempt to gauge our humanity? Has Reebok overreached? I'm going to kick back on the sofa, rest my aching muscles, and give those questions some thought.


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    It's that time again. Time to gorge on football and pricey commercials, not necessarily in that order.

    We already know a lot about what to expect from the ads of Super Bowl XLIX. Comedy, tragedy, celebrities, puppies, big spectacles and a few quiet moments. But hopefully something we haven't seen yet will blow us away.

    On Sunday night, Adweek will bring you real-time reviews of every single commercial immediately after it airs. Last year, we did letter grades. This year we're making it even simpler—thumbs up or thumbs down.

    Follow us on Twitter at @Adweek and @AdFreak to see the instant reviews there first. Then, as the game progresses, you'll be able to see every commercial again—and Adweek's reviews of them all—at the links below. We'll be updating the galleries in real time, too, keeping up with the pace of the ads.

    • FIRST QUARTER (link will go live after the quarter begins)
    • SECOND QUARTER (link will go live after the quarter begins)
    • THIRD QUARTER (link will go live after the quarter begins)
    • FOURTH QUARTER (link will go live after the quarter begins)

    Thanks for joining us. Enjoy the night!


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    You can advertise a lot of things on the Super Bowl, from a bag of Doritos to … a next-generation bomber that will cost half a billion dollars per aircraft to build.

    Northrop Grumman is working on a design for the latter—it's battling Boeing-Lockheed for defense contract to build the U.S.'s next-gen bomber—and will tease the aircraft on the Super Bowl with the 30-second spot below, a rep for the company confirmed to Adweek.

    UPDATE: This spot aired regionally, not nationally, on the Super Bowl.

    Breaking Defense, a leading news site on defense, first broke the news Saturday. Running a Super Bowl ad is a first for Northrop, and is believed to be a first for any defense company.

    The ad has been on YouTube since Thursday and already has more than 300,000 views. According to Breaking Defense, it begins by showing various famous Northrop aircraft—first the YB-35, then the B-2 bomber, then the X-47B.



    Finally, the new mystery plane is shown at the end, shrouded in a giant sheet, as an airman walks toward it and grins slightly. (Breaking Defense says there's a chance the aircraft is the so-called sixth generation fighter for the Air Force and Navy, which Northrop also has design teams working on.)

    The bomber program will be enormously expensive. Research and development alone is expected to cost $25 billion. Then, each plane is likely to cost $600 million to build—and the Air Force plans to buy 100 of them. If Northrop gets the contact, the $4.5 million NBC buy will have been a drop in the bucket.


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    Brands will gather in their social-media war rooms tonight, still attempting to top Oreo's lightning-in-a-bottle template for real-time Super Bowl marketing. But in a sense, they've already lost. That's because whackadoodle snack brand Totino's Pizza, already well known for its absurd antics, live-tweeted the Super Bowl last night.

    At first, many thought it was an accident—that perhaps their tweets auto-published on the wrong day. But it soon became clear that it was a big joke. And behind all the terrible-on-purpose spelling errors and clichéd phrasing was a sophisticated, hilarious, snark-laden mockery of the entire process—showing us just how ridiculous and sometimes phoned-in "real-time" marketing can be.

    If every brand and their mother can release their Super Bowl ads ahead of the game, why not fake-leak your (largely pre-planned) game tweets, too?

    Take a look below at Totino's rollicking (and at times super weird) take on the state of social media marketing—and how you can exploit the Super Bowl before it even happens.


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    One of the things Saturday Night Live does best is skewer advertising tropes, so it's no surprise that in last night's pre-Super Bowl episode, the show did just that. With a parody Totino's ad, no less. 

    In the spot, Vanessa Bayer gamely plays a bored housewife who doesn't know what to do with herself after she's served her hubby (host J.K. Simmons) and his pals their snacks for the Big Game. Enter Totino's Super Bowl Activity Kit for Women.  

    The skit makes fun of ads that play up the role of a doting wife for the Big Game. It helps, too, that the activity pack looks like something Hasbro would make—with a top, a set of jacks and other kid's toys inside.


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    Loctite and its agency, Fallon, are the New England Patriots of this year's Super Bowl advertising, scoring late in the game to seal victory.

    Their fourth-quarter play, "Positive Feelings," is part of the brand's "Win at Glue" campaign, which broke eight months ago. In this 30-second ad, average folks bust the moves, furiously shaking their red Loctite-branded fanny packs—reaching inside for tubes of the product to fix broken eyeglasses and a weirdly winking unicorn brooch—without missing a beat. (Some of the dancers also appear in quickie fun clips on the brand's YouTube channel.)



    "If you have something that breaks, that feels like a fail, and then when you contemplate your ability to repair this beloved or useful thing, you don't feel great because you don't feel like you have the competence to repair the thing," Fallon creative chief Jeff Kling tells CoCreate."We knew that if we could shift that and make people feel good, we'd get somewhere."

    The frenetic approach by directors Tim & Eric (aka, Tim Heideker and Eric Wareheim) lets the oddness explode with full dance-floor fury. Yet the humor doesn't feel forced, and the message is squarely on brand. After all, what average Jane or Joe wouldn't furiously boogie—badly but blissfully—after mending a prized possession?

    At the spot's close, when one nerdy couple claims "Loctite saved our marriage," it struck a chord with me. I've accidentally broken a few of my wife's things through the years—a vase, a Mikasa plate—and I can confirm that each chip and crack brings us closer to divorce court.

    Reactions to the Super Bowl salvo have been largely positive. It made Adweek's top five spots of the game, and VH1 even crowned it "the greatest" of 2015.

    Bravo, Loctite. The bonding has begun!





    CREDITS
    Client: Loctite

    Agency: Fallon Worldwide
    Chief Creative Officer: Jeff Kling
    Creative Director: Jason Bottenus
    Art Director: Jonathan Moehnke
    Copywriter: Bo MacDonald
    Director of Production: Andrew Koningen
    Account Director: Adam Craw
    Director of Account Management: Chris Lawrence
    Planning Director: Julianna Simon

    Production Company: Prettybird
    Directors: Tim & Eric
    Director of Photography: Andrew Wheeler
    Production Designer:  Melanie Mandle
    Executive Producer: Ali Brown
    Head of Production: Tracy Hauser
    Line Producer: Hillary Calhoun

    Editorial: NO6
    Editor: Kyle Brown
    Executive Producer: Crissy DeSimone
    Senior Producer: Kendra Desai

    VFX / Color / Finishing: The Mill LA
    Senior Executive Producer: Sue Troyan
    Executive Producer: Jo Arghiris
    Executive Telecine Producer: Thatcher Peterson
    Producer: Kiana Bicoy
    Telecine Producers: Natalie Westerfield and Antonio Hardy
    Production Coordinator: Jillian Lynes
    Telecine Production Coordinator: Diane Valera
    Colorist: Adam Scott
    Lead 2D Artist: Scott Johnson
    2D Artists: Adam Lambert, Steve Cokonis, Jale Parsons

    Music: tonefarmer
    Composer (TV): Jimmy Harned
    Composers (online): Jimmy Harned + Sam Skarstad
    Executive Producer: Liz Higgins


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    Savannah, Ga., lawyer Jamie Casino had a big hit last year when he ran this absurdly badass local Super Bowl ad—an epic two-minute tale of crime, death and retribution that got more than 5 million YouTube views.

    Casino, of course, had to return for an encore. And you can see it below.

    There are so many questions. (For one, why is this two-minute Super Bowl ad three-and-a-half minutes long?) Plotwise, the damn thing is barely coherent, unlike last year's spot, which was ludicrous but at least easy to follow.

    This time, we have Casino talking about all the personal bullies he's encountered in life and how he overcame them—childhood tormenters, cancer, his younger brother's murder and local strong-arm government in Savannah. Casino is heard cross-examining a character, "Injustice," who symbolizes the broken Savannah city leadership. "Bullying is bad. Silence is worse," says the line at the end.

    We can't wait for next year's ad, when Casino fully transforms into Batman.


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    If you watched this year's Super Bowl ads, you noticed two prevailing themes: cute puppies and awesome dads. Capitalizing on this trend, Doritos decided to combine the concepts in an online Super Bowl spot on Sunday—by reuniting a delightful French bulldog named Doritos with his even more adorable puppy, Nacho.

    Now, watching dads heartwarmingly reunite with their sons usually brings a tear to the viewer's eye. But here it's a little different. This one is decidedly less poignant, unless you get choked up by butt sniffing and farting.



    The clip was one of several that the snack food brand produced in response to different Super Bowl spots, including Victoria's Secret and Nationwide. See those spots below. 


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    As the dust has finally begun to settle on the spectacle that was Super Bowl XLIX, we're getting a little teary-eyed—either from reminiscing about the night that was, or because of all the depressing ads.

    But since we love this stuff, here's a way to relive it once again: We've smashed all the commercials together into one two-minute video—our annual Super Bowl supercut. 

    Take a look above and see if you can spot all your favorites. Then check out our picks for the best and worst ads of the game, as well as our instant reviews of every ad that ran. 


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    Unfortunately, mass transit isn't usually seen as too cool—except in Denmark, where taking the bus means you're a damn rock star.

    We saw this back in 2012, when a hugely entertaining commercial for Midttrafik buses went viral. It showed people clawing their way on to get on the bus, and then basking almost orgasmically in the comforts of the riding experience. (The spot went on to win the Grand Prix at Europe's Epica Awards, among many other honors.)

    Now, the same client and production company, M2Film, are back with a sequel that's just as comically hyperbolic. This time, though, the focus is on more on the passenger than on the buses themselves. And quite a passenger this is—seemingly nerdy but actually intensely cool, strutting through town like a celebrity, collecting women's underwear, feeding meat to Miss Paraguay, drawing cheers from crowd just for picking a bus route.

    He even gets a stone-faced businessman to ditch his fancy car—in spectacular fashion—and join him on public transit.

    That would never happen, of course. But a kid can dream.



    CREDITS
    Client: Midttrafik
    Spot: "Epic Bus: The Sequel"
    Agency: M2Film

    Creative Team: Falkenberg&Falkenberg, Jan P., Ronni Madsen

    Production Company: M2Film
    Director: Peter Harton
    Producers: Jan P. & Ronni Madsen

    And here's the original spot from 2012:


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    Meet two characters in search of an exit.

    "First Kiss: One Year Later" is Barely Political's sendup of last year's mega-viral, Cannes gold Lion-winning video from fashion label Wren that brought strangers together for some smoochy face time.

    The original clip has generated nearly 100 million views, and a bazillionparodies—watching Haley Joel Osment take a slap to the kisser never gets old—so you'd think the joke would be played out.

    Yet here we are, watching Beth Hoyt (who also wrote the script for the four-minute spot) and Tom Lipinski, captured in glorious black-and-white by director Todd Womack, portraying a "First Kiss" couple who stay on the set for an entire year. (It's timed to coincide with the real video's debut last March.)



    We observe their various relationship firsts, like sex, parental meetings, fights and giving birth ("I'm just a P.A.!" the P.A. screams, wielding his clapboard like forceps as Lipinski primps for a selfie.)

    On one level, this is a pitch-perfect parody of the original, taken to its logical extreme. Using the cutesy-awkward, hyper-stylized "First Kiss" canvas, it deftly skewers the insecurities, foibles and blatant banality of modern relationships, with a knowing wink at its audience to take the humor with a grain of salt.

    The clip also makes a deeper, subtler point about the modern media experience. After all, it's become increasingly common to play out our daily dramas in the 24/7 audio-visual environment. Or else, we spend countless hours watching others broadcast themselves. Most of us do a bit of both.

    If one of the real "First Kiss" couples actually had stayed on the set for a year, they might well have produced a video like this one. As the whole world becomes both soundstage and screening room, that's how the camera rolls.


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    Pampers is doing a good job of cornering the baby schmaltz advertising market.

    A new spot from the diaper brand focuses on the whirlwind of new experiences—challenging and delightful—that parents face when they have a child, especially their first. There are sonograms, there's exhaustion, and naturally there are hero shots of diapers. Mostly, there are lots of cute babies.

    It's not as irrefutably moving as Pampers' personalized celebrations for Japanese mothers on the first birthdays of their children. But for an ad that insists on pandering at length to base sentimentality, the minute-and-a-half list of firsts, some earnest and some hyperbolic, can't help but make you feel kind of happy, anyways. (At last count, it had over 1.3 million YouTube views.)



    Pampers also makes sure to check the various ethnic diversity boxes, and offer a nod to breastfeeding. (No love for the formula warriors, though—really, it's missed an opportunity to represent the more granular factions of moms and dads.)

    The tagline—"May we join you on your journey?"—goes so far out of its way to be polite and self-aware that it's almost patronizing, since really what it means is "Please buy Pampers," which at that point doesn't really need to be said. But compared to Luvs' "Poop There It Is" from a few years back, the low bar for diaper ads, anything shines.

    And as Coca-Cola, of all brands, best illustrated, new parents may get worn out, but they'll still find a way to amp themselves up for the second go-around.


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    Here's one way to get attention with a gender-themed advertisement.

    The fashion website Parisian Gentleman just unveiled its first commercial, and it has an unusual premise indeed: It posits that in a "world without gentlemen," women would lose all refinement and act like uncivilized creeps—farting, puking and pissing their lives away in a booze-soaked death spiral of self-debasement.

    But not in a bad way, says Parisian Gentleman! Indeed, the site claims the ad, from DLV BBDO in Milan, Italy, simply captures the "humor, courage and spirit" of its brand. The tagline at the end of the film explains the thinking more directly.

    Whether you read it literally (men don't exist in this fantasy world) or figuratively (they exist but aren't "gentlemen"), the message seems to be that women rely on men to set the example—and would be lost without them. Or maybe it's saying that without elegance, everyone just turns into a dude.

    Have a look, and see what you think. The spot is NSFW because of brief nudity.


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    When Jack Black was a kid in Hermosa Beach, Calif., he left a special message for the Tooth Fairy: Rather than money, he wanted Farrah Fawcett's phone number.

    That's just one of the funny anecdotes packed into this Google Play ad from BBH Los Angeles. In the three-and-a-half-minute animated clip, Black dishes on growing up in the Southern California beach town in the 1970s and 1980s.

    It's part of a series called "California Inspires Me," created with California Sunday magazine (the regional print offshoot of nonfiction event series Pop-Up Magazine), which Google is using to promote Black's catalog of movies on Google Play (as well as the availability of the entertainment he cites as inspiration—the Steve Miller Band, Journey, Styx and, naturally, Fawcett's Charlie's Angels).

    There's even a nod to Fast Times at Ridgemont High. And for those of you looking to geek out on more details, there's a second website with more quotes.



    Overall, Black's profile takes a theme that could feel a little parochial and gives it broad appeal. And the clip itself is well-paced and beautifully illustrated—graphic artist Nicholas Menard puts a new spin on the actor's colorful storytelling, like a description of Hollywood as a "throbbing dream" that can't but influence nearby communities.

    Also, keep your eyes peeled for an excellent flow-chart on the relationship between getting laughs and feeling loved. But mostly just sit back and enjoy a neat bit of entertainment, even if it is technically advertising, too.

    CREDITS
    Client: Google Play
    Global Director of Marketing: Brian Irving
    Marketing Manager: Zena Arnold
    Product Marketing Manager: Robin Gonterman
    Director: Nicholas Menard
    Animator: Anne-Lou Erambert
    Music: Shannon Ferguson
    Sound Production: Mooj Zadie

    Agency: BBH, Los Angeles
    Executive Creative Director: Pelle Sjoenell
    Creative Director: Josh Webman
    Design Director: Florencio Zavala
    Art Director: James Beke
    Copywriter: Tyree Harris
    Business Director: Derek McCarty
    Account Lead: Raquel Castro

    California Sunday
    Publisher, President: Chas Edwards
    Producer, "California Inspires Me": Derek Fagerstrom
    Project Manager: Whitney Lynn
    Account Executive: Noelle Kaplan


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    Just when we thought we were Super Bowl'd out, we find something that takes the magic of this year's ads and reimages it—IN LEGO!

    British animation house A+C Studios is behind the Brick Bowl—a three-minute journey through some of this year's Super Bowl ads, edited together as a story. It took them 36 hours following the final whistle to deliver the video, which it calls "a new take on the world's most expensive advertising space."

    Take a look below as some of the most memorable spots (nine to be exact), including Snickers, Toyota, T-Mobile and Bud Light, are transformed into Legos! To prove they weren't cheating, there's even a mini-Katy Perry halftime show.

    They left out the Nationwide kid. But that's because everything is awesome.



    CREDITS
    Director: Dan Richards
    Story: Josh Hicks, Dan Richards
    Producer: Liu Batchelor
    Executive Producers: Robyn Viney, Julian Hirst
    Animation Director: James "Jamesy" Harvey
    Production Manager: Sim Bhachu
    Editor: Stuart Clark
    Sound Design: Jareth Turner, Karl Aiden Bourne
    Voice: Dave Eric Smith
    Additional Voices: Stuart Clark
    Storyboard Artists: Dayle Sanders, Josh Hicks
    Stop Motion Animators: James Harvey, Barnaby Dixon, Dave Cubitt, Roos Mattaar, Laura Tofarides, Jordan Wood
    Model Makers: Jess Linares, Astrid Goldsmith, Tiffany Monk, Becky Smith, Kyle Roberts
    Stage Build: Martin Richards
    Production Assistants: Bobby Sparks, Chad Mihaylov, Charlie-Evaristo-Boyce
    Digital Animation, Visual Effects: Stuart Clark, Dayle Sanders, Oliver David Lister, Kim Dunne, Nat Urwin
    Catering: Rory Fletcher


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    Specs
    Who (From left) Frank Catapano, managing partner; Gabe Gordon, managing partner; Marc Hustvedt, partner
    What Digital content strategy agency
    Where Venice Beach, Calif.

    Realizing the best way to reach consumers is by creating video for the social media set, Gabe Gordon and Frank Catapano, William Morris Endeavor Entertainment alums, decided in 2012 to take the digital strategies they learned on the job and create their own content strategy agency.

    Reach Entertainment helps companies like Anheuser-Busch, Walmart, Marriott and Purina navigate YouTube in order to create branded content around trending topics with top online influencers. For example, it used cat power to fuel a partnership between The Fine Bros. and Friskies for an April Fool's Day video called Cats React, a parody of the weekly hit YouTube series Kids React.

    The clip has been viewed more than 10 million times—without the help of paid media. "Our formula is really understanding what formats are right to help find consumers for brands, and it's about finding the right storyteller," Gordon said. Here's a look:


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