Lane Bryant's new #ImNoAngel campaign is sexy as hell.

The video features gorgeous plus-size models sporting bras and panties from the new Cacique by Lane Bryant collection. The 30-second spot is done in black-and-white and without any music (it feels the tiniest bit empty without it), with a few sound bites from the models, who all declare that they're no angels.



"The Lane Bryant #IMNOANGEL initiative celebrates women of all shapes and sizes by redefining society's traditional notion of sexy with a powerful core message: ALL women are sexy," the brand says.

It's a direct dig at Victoria's Secret, and social media is loving it. Women have jumped on the trending hashtag, posting their own photos and declarations with #ImNoAngel.

Ashley Graham, one of the stars of the Lane Bryant campaign (she was also in that Swimsuits for All ad in the Sports Illustrated swimsuit issue), posted this fun photo to Instagram yesterday, writing: "On the F train, literally. Can't hide these curves!!!"
 

 

A photo posted by A S H L E Y ✨ G R A H A M ™ (@theashleygraham) on Apr 7, 2015 at 6:11pm PDT

 
Victoria's Secret, of course, hasn't responded—though its latest tweet reminds you that its models even have "angel" in their Twitter handles.

The @angelcandice wall at our NYC HQ! For more #InsideVS, go to Snapchat: VICTORIASSECRET. pic.twitter.com/QClKwC7iWj

— Victoria's Secret (@VictoriasSecret) April 7, 2015

Drunk-driving messaging is a naturally fruitful creative area for any taxi or car-service company, and Uber has produced a very cool campaign around the topic with this curbside breathalyzer in Toronto.

A sidewalk kiosk—dreamed up by agency Rethink and built by design and fabrication studio Stacklab—functions as a typical breathalyzer. You blow through a disposable straw for six seconds, and it analyzes the alcohol content in your breath. If you're over the legal limit, it offers you a ride home. (The people seen in the video got free rides, in fact.)



"We want to ensure a safe, reliable and affordable ride home is available to everybody, especially late at night when drunk driving is most common and can be avoided," says Ian Black, general manager of Uber Toronto.

Plenty of birds can sing, but how many can dance the skank?

Well, none, probably. But the pigeon in this minute-long Virgin Money spot that just broke in Britain comes damn close, strutting its feathered stuff to The Selecter's 1979 ska thumper "On My Radio."

"We just thought banks are boring, mundane, normal at best. Virgin is cooler," Gavin Torrance, a creative director at The&Partnership who worked on the spot, tells AdFreak. "So, we came up with the idea of taking something normal, and making it cool."

That's a real pigeon, and its movements are genuine, though creatively edited, of course, to construct the commercial. "It was a very tricky thing to capture all in-camera," Torrance says. "That's why we chose to work with [director] Andy McLeod at Rattling Stick. He had a cunning way to manipulate a real pigeon to get it to perform those intricate dance moves."



Hmm. Did the dude squawk directions? Coo in the bird's ear? Torrance isn't saying. "It took a full day's filming to capture all the moves we needed," he says. Several pigeons were on hand, but the performance on screen comes from just one bird.

It's no moonwalking Shetland pony, but what is, really? Besides, this particular rat with wings (no disrespect intended) gyrates way more realistically than that nag ever did, bopping its beak to the 2-Tone beat and tapping its talons on the sidewalk.

The film combines footage of an actual road with a stylized street set, and clearly, some other visual trickery was employed. You've gotta love the dance-club ambiance achieved by the flashing lights of a passing police cruiser and the smoky exhaust of a nearby car.

Leaning more heavily on effects would've simplified matters, but "we wanted it to look totally real and authentic," says Torrance. "There's no magic in seeing a CGI pigeon twerking. But a real one—now that's sexy!"

With about 20,000 YouTube views in its first day online, the clip is no instant smash, but cats everywhere should be driving up those stats in short order.

CREDITS
Client: Virgin Money
Marketing Director: Paul Lloyd
Agency: m/SIX
Chief Executive Officer: Jess Burley
Account Director: Beatrice Clarke
Producer: Emma Hovell, The&Partnership
Creatives: Danny Hunt, Gavin Torrance, The&Partnership
Content Agency: AllTogetherNow
Chief Executive Officer: Conor McNicholas
Production Company: Rattling Stick
Director: Andy McLeod
Producer: Simon Sanderson
Postproduction: Big Buoy
Visual Effects: Jim Allen
Producer: Barny Wright
Music: The Selecter, "On My Radio"

Last week, we saw HBO replying to 3-year-old tweets from cable cutters who wanted a stand-alone HBO option back then—something it is now launching with HBO Now. Today, the network unveils a companion video, in which it punks Jake Caputo—the guy who got people all riled up and demanding stand-alone service in 2012 by launching takemymoneyhbo.com—with help from some very special guests.

If Caputo really wants to give his money away to HBO, Paulie "Walnuts" Gualtieri and Salvatore "Big Pussy" Bonpensiero will happily take it off his hands.

Stan Freberg, whose freewheeling comic career in advertising garnered him worldwide acclaim and whose satirical entertainment abounded on TV, the radio and vinyl records, has died. He was 88.

Freberg died of natural causes at a Santa Monica hospital, his son and daughter, Donavan and Donna Freberg, confirmed to The Hollywood Reporter.

"He was and will always be my hero, and I will carry his brilliant legacy forward as best I am able," his son wrote on Facebook.

The godfather of humorous and irreverent commercials, Freberg lampooned cultural institutions and described himself as a "guerilla satirist." The New York Times dubbed him the "Che Guevara of advertising," and years later, "Weird Al" Yankovic called him a major influence on his career.

"Very sad to say that one of my absolute all-time heroes has just passed away," Yankovic wrote on Twitter. "RIP Stan Freberg. A legend, an inspiration and a friend."

Freberg also was known for his musical parodies. "Wun'erful Wun'erful," his 1957 spoof of "champagne music"—on which he collaborated with orchestra leader Billy May—lampooned The Lawrence Welk Show.

He also parodied Johnnie Ray's hit "Cry," which Freberg rendered as "Try." (Ray was angry until he realized Freberg was fueling sales of his record.)

The Los Angeles native had hit records of his own, including St. George and the Dragonet, a 1953 send-up of the series Dragnet. His recordings were so popular that he landed his own radio program in 1954, That's Rich. Three years later, he presented The Stan Freberg Show on CBS Radio, where he regularly mocked commercials by advertising bogus products.

He won a Grammy Award in 1959 for best performance, documentary or spoken word for The Best of the Stan Freberg Shows.

Earlier in the 1950s, Freberg helped create and write the Emmy Award-winning comedy Time for Beany, also working with puppets and performing on the show. Its droll, off-the-wall humor appealed to fans including Albert Einstein. During Beany's early gestation, Freberg and the other writers had no office, so they wrote in coffee shops at night as well as in an "office" in a condemned building.

Not surprisingly, Freberg ruffled institutional feathers. Capitol Records balked at releasing his satires of radio-TV personality Arthur Godfrey and Ed Sullivan's variety show Toast of the Town.

Freberg disdained the hard sell. He created such classic comic ad capers as "Nine out of 10 doctors recommend Chun King Chow Mein," and his Jeno's Frozen Pizza campaign featured the Lone Ranger and Tonto. He skewered the greed of the ad business in "Green Chri$tma$, which criticized the over-commercialization of the holiday.

In 1958, Freberg opened his own ad agency, Freberg Ltd. His slogan was "More Honesty Than the Client Had in Mind," and he even had a corporate motto: "Ars Gratia Pecuniae" (Art for the Sake of Money).

Freberg, whose inspirations were Jack Benny, Fred Allen and Norman Corwin, worked in cartoons for decades, starting in the 1940s. He provided the voice for Junyer Bear in the 1948 Chuck Jones Looney Tunes cartoon What's Brewin', Bruin, and he famously played the three pigs, the wolf and the singing narrator in another Looney Tunes classic, 1957's Three Little Bops. At Warner Bros., he often teamed with the great Mel Blanc.

Freberg also was the voice of Beaver in Disney's Lady and the Tramp (1955). For the feature Looney Tunes, Back in Action (2003), he was heard as a baby bear.

Survivors also include his wife, Hunter, and a granddaughter.

This article originally appeared on The Hollywood Reporter's website.

There was enough snow this winter, and spring, that agencies started making ads with it.

At least, Lapiz did in this fun campaign for the Mexico Tourism Board. After an unexpected springtime snowstorm in Chicago, the agency called on local street artist NosE Lanariz to make some outdoor ads from the stuff—as you can see in the video below.

The campaign hit three locations in the city, with headlines like, "Take Your Clothes Off", "Come Melt Under The Sun" and "Beaches With Sand This White."



CREDITS
Client: Mexico Tourism Board
Campaign: "Snow Graffiti"
Agency: Lapiz
Chief Creative Officer: Laurence Klinger
Executive Creative Director: Fabio Seidl
Creative Director: Carlos Ia Murad
Associate Creative Director: Flavio Pina
Copywriter: Eduardo Vea Keating
Producers: Bobby Gruenberg, Aldo Gagliardi
General Manager: Gustavo Razzetti
Account team: Ernesto Adduci, Pablo Sabouret
Director, Editor (video): Ben Derico
Editor: Jonny Arcila
Finish House: Optimus
Artist: NosE Lanariz

For a campaign that's five years old, Snickers' "You're Not You When You're Hungry" is having quite the creative renaissance this year.

The Super Bowl ad was fantastic (as was the New York City billboard that teased it). The Medusa ad on the back cover of Sports Illustrated's Swimsuit Issue was inspired. And now, we get a very fun campaign in which the brand got video bloggers all over the world to post intentionally bad videos—pretending they recorded them while they were hungry, and thus weren't themselves.

The "You're Not YouTube" campaign launched simultaneously in eight countries and included 13 popular "how-to" vloggers on YouTube. In each video, it's clear something is wrong as the usually sure-footed hosts appear completely off their game.

For example, in the one U.S.-based video, style and motivational guru Jessica Harlow, who's usually so put together, apathetically shows fans how to "let yourself go."

U.S.

There are two videos from Puerto Rico. In one, high-energy comedian Alex Diaz demonstrates yoga-inspired relaxation techniques. In the other, political commentator Jay Fonseca totally switches gears and offers step-by-step instructions on how to make hand-made floral scrapbooks.

Puerto Rico

The others vloggers are from the U.K., UAE, Egypt, Turkey, Lebanon and Brazil. You can check out their videos below.

"Vloggers are such dynamic content creators, it's quite interesting—and funny—to see what happens when hunger strikes and their faculties fail them," says Allison Miazga-Bedrick, Snickers brand director. "Between them the international vloggers in this campaign have over 7 million subscribers, generating huge global reach for this innovative digital extension of our campaign."

U.K.

United Arab Emirates

Egypt

Turkey

Lebanon

Brazil

CREDITS
Client: Snickers
Campaign: "You're Not YouTube"

Creative Originator: AMV BBDO, London
Copywriter, AMV BBDO: Diccon Driver
Art Director, AMV BBDO: Alan Wilson

Creative Agency: BBDO, New York
Chief Creative Officer, BBDO Worldwide: David Lubars
Chief Creative Officer, BBDO New York: Greg Hahn
Executive Creative Directors, BBDO New York: Gianfranco Arena, Peter Kain
Associate Creative Directors, BBDO New York: Matt Herr, Justin Bilicki
Group Planning Director, BBDO New York: Crystal Rix
Senior Planner, BBDO New York: Alaina Crystal
Managing Director, BBDO New York: Kirsten Flanik
Global Account Director, BBDO New York: Susannah Keller
Account Director, BBDO New York: Joshua Steinman
Account Manager, BBDO New York: Tani Corbacho
Account Executive, BBDO New York: Jocelyn Choi  

Media Agency: Digitas
Media Supervisor: Chad Lewis
Media Planner: Martha Williams

Multichannel Network: Maker Studios
Director, Editor: Cody Buesing
Executive Producer: Michael Reilly  
Producer: Austin Bening
Director of Photography: Steven DiCasa
Production Designer: Samantha Hawkins
Hair, Makeup Artist: Thadius Lajara
Sound Mixer: Luke Tilghman
Production Coordinator: Rita Warkov
Production Assistant: Audrey Ketchell

DirecTV doesn't want you to have to look at ugly cable wires and boxes. So, it's putting Hannah Davis on your screen instead (and saying goodbye to Rob Lowe).

Sports Illustrated's 2015 Swimsuit Issue cover girl anchors two new spots for the satellite TV service from Grey New York. In the first ad, she rides a white horse down a tropical beach in a scene vaguely reminiscent of Isaiah Mustafa for Old Spice, offering an otherwise standard pitch for the wireless satellite service. In the second, she's just sitting next to her ride.

There's a twist in both, though, and it's consistent with the brand's history of cranking out solid comedy.

The work replaces DirecTV's long-running Rob Lowe (and his lesser versions) campaign, which was dinged Tuesday by the National Advertising Division of the Council of Better Business Bureaus for making unsubstantiated comparative claims about cable. (That Comcast worked to ruin everyone's fun is another good reason for consumers to hate that company—even if some of the DirecTV ads weren't the nicest.)

Davis also appeared as a cat lady in a DirecTV print ad in the S.I. Swimsuit Issue. But—spoiler alerts ahead—the TV campaign hits the holy trinity of advertising clichés: run-of-the-mill sex appeal, a funny talking animal and a visual play on words.

It's worth noting, though, that followed to its logical conclusion, the joke is basically saying DirecTV is a horse.

The so-called "toys-to-life" category is about to get an enormous jolt, as Lego and Warner Bros. Interactive have announced their upcoming Lego Dimensions game—and teased it with this entertaining five-minute short starring Batman, Gandalf and Wyldstyle.

And Joel McHale.

Toys-to-life was pioneered by games like Activision's Skylanders. You take a collectible figure, place it on a tray, and see it come to life in a video game as a playable character. When Lego Dimensions launches Sept. 27, there will be plenty of popular characters to drop your money on—from DC Comics, The Lord of the Rings, Back to the Future, The Lego Movie and more.

And according to the video below, it might have all started at Joel McHale's house, as he opened a dimensional vortex and suddenly found himself chatting with Batman, Gandalf and Wyldstyle (whom, you'll remember, was Emmet's love interest in The Lego Movie).



From the YouTube description:

"Play with different minifigures from different worlds together in one Lego videogame, and use each other's vehicles and gadgets in a way never before possible. Lego Bad Cop driving the DeLorean Time Machine … why not?! The Lego Ninjago Masters of Spinjitsu fighting alongside Wonder Woman … yes, please! Get ready to break the rules, because the only rule with Lego Dimensions is that there are no rules."

Now, of course, McHale needs his own Lego minifigure.

Here's a clever outdoor campaign from Publicis London for the homelessness charity Depaul that manages to tell two different stories with the same copy.

The ads are being placed on corners, with text on each side. If you read only the left side, the copy is all about the negative ideas people have about giving up a spare room to a homeless youth. But reading them in full, the ads actually argue for the benefits of volunteering.

"There's another side to the story," says the tagline.

Click the images below to enlarge.

Conceptually, the campaign is quite similar to BBDO New York's award-winning ads for BBC America back in 2007. Those ads, also placed around corners, showed two sides of the same photo, with the tagline: "See both sides of the story."

The clever use of text differentiates this new effort, though it will always be likened to the BBC work. See more from the campaign, plus credits, below.

CREDITS
Client: Depaul
Agency: Publicis London
Executive Creative Director: Andy Bird
Creative Director: Paul Mason
Art Director: Dan Kennard
Copywriter: Ben Smith
Head of Art and Design: Andy Breese
Designer: Dave Stansfield
Photographer: Mark Wesley
Account Manager: Tom Froggett
Head of Operations: Debbie Burke
Agency Producers: Steve McFarlane, Ed Page, Greg Collier
Art Buyers: Sarah Clifford, Claire Lillis

The notion that kids grow up to emulate their parents' driving habits fuels "Strings," an unusual spot created by Clemenger BBDO Melbourne for Australia's Transport Accident Commission.

"Parents can't deny that their kids copy them. They see it every day in some way," agency creative director Stephen de Wolf tells AdFreak. "We just want to get into their psyches a little bit to have them question how they act behind the wheel."

To convey the power of parental role models, the minimalist spot shows a boy buckled into a seat behind his father, pretending to drive. He mimics every move his dad makes—such as shouting at other motorists and checking his phone—because the two are connected by puppeteers' wires.



Shot on a dark stage (and not in an actual vehicle), the vibe echoes this much-praised 2010 PSA from the Sussex Safer Roads Partnership in England, which also featured mock driving. "We felt keeping the creative idea simple was right," de Wolf says. "That meant keeping it out of a normal car scenario and finding a vehicle that let us show the variety of behaviors we had to show. From there, we got to the strings-puppet visual and the stage setting."

Though the set-up delivers a straightforward message—"What kind of driver are you raising?"—the filming posed some challenges.

"We had six hours to shoot the 60-second spot," de Wolf recalls, "but we also had to shoot a 30-second spot. The 30-second spot isn't a cutdown, it too is a one-take, all in-camera piece. This meant two different sets of synchronized actions from both our boy and our dad, for the two different time lengths. Thankfully, our boy—in his first acting job—picked everything up very, very quickly."

Some of Australia's top puppeteers "helped create the rig and kept the movements of the actors as real as possible," de Wolf adds. "We ended up with at least 20 takes for the 60-second spot alone. Out of those, only one or two had the actions perfectly synchronized and the right feel to the performances."

Backed by an ominous ambient music track, the surreal ride is certainly memorable, even chilling. But one wonders if it will break though without the intense drama and upsetting imagery that often define road-safety campaigns.

"After many years of shocking audiences, the Australian public have come to expect the crash, which limits its impact," says de Wolf. "We are increasingly trying to empower people to do the right thing, not berate them for doing something wrong. This is particularly true for parents, who would tend to opt out if we went the shock route, believing, 'That's not going to be me. I'm a good driver, and I know I'm a good parent.' "

CREDITS
Client: Transport Accident Commission
Amy Cockerell: Marketing Coordinator
Cherie Chandler: Marketing Project Manager
Samantha Buckis: Road Safety Project Coordinator
Samantha Cockfield: Senior Manager Road Safety

Agency: Clemenger BBDO Melbourne
Luke Thompson: Senior Art Director
Jim Robbins: Senior Copywriter
James McGrath: Creative Chairman
Ant Keogh: Executive Creative Director
Stephen de Wolf: Creative Director
Sharon Adams: Print Producer
Sonia Von Bibra: Executive Producer: TV
Karolina Bozajkovska: Senior Agency Producer: TV
Steve Pratt: Retoucher
Lee Simpson: Managing Partner
Naomi Gorringe: Group Account Director
Kate Joiner: Senior Account Manager
Patrick Nally: Account Executive
Matt Pearce: Planner

Tomas Mankovsky: Director (Repped by Blink)
Camilla Dehnert: Producer
Lucinda Thompson: Designer
Geoffrey Simpson: DOP/Cinematographer
Elodie Fouqueau: Editor (Method)
Duncan Horn: Flame Artist (Glassworks)
Theodore Vidgen: Music Composer/Arranger
Stephen Boniface: Photographer (Match Photography)
Postproduction Company: Method Studio/Glassworks
Production Company: Finch/Blink (Co Production)
Paul Le Coutier: Sound Designer/Engineer
Sound House: Flagstaff
Special/Visual Effects" Glassworks

Traditional watchmakers are in a bit of a bind with the launch of the Apple Watch. Do they just ignore it, or do they make fun of it—and in so doing, admit its buzzworthiness and give it that much extra attention?

Shinola is going with the latter approach, launching ads from Partners & Spade in The New York Times and Wall Street Journal (suitably old-school placements, naturally) that rib the wondrous new Apple device, which is finally available for pre-order today.

The ads promote the brand's Runwell watch, which at $550 is almost identical in price to the lower-end Apple Watch, which goes for $549. The tagline is, "The Runwell. It's just smart enough," and the copy riffs on that theme:

Smart enough that you don't need to charge it at night. Smart enough that it will never need a software upgrade. Smart enough that version 1.0 won't need to be replaced next year, or in the many decades that follow. Built by the watchmakers of Detroit to last a lifetime or longer under the terms and conditions of the Shinola guarantee.

Yes, the watch might be old school, but the snark is very modern day. Full ad below.



CREDITS
Client: Shinola
Agency: Partners & Spade
Creative Directors: Anthony Sperduti, Griffin Creech
Art Director: Danny Demers

Some people complain that modern baseball games last too long, but the one in this Japanese ad for Toyota's G cars will make you root for extra innings.

Salarymen and businesswomen push fantastical red "G" buttons positioned around midtown, and the action begins. Soon, balls are flying off bats toward skyscrapers, and office-attired players are diving across concrete (ouch!) to make dazzling catches. They use manhole covers for bases, and a traffic cop (I think) serves as an umpire. At one point, Warren Cromartie, a former star in the U.S. who was much more popular when he played in Japan, argues a call. You tell 'em, Cro!



The final at-bat features an airborne Prius in a grandstand play of epic proportions—truly a towering drive.

Dubbed "Baseball Party," the film has deservedly earned almost 3.5 million YouTube views in Japan in two weeks. And there's a behind-the-scenes clip, naturally.

Sure, the connection between the brand and baseball is tenuous, to say the least, but the two-and-a-half-minute commercial is such exhilarating fun, only a mean-spirited boo bird would object. You might shout, "Let's play two!" and watch it again.

Your life might not be quite like Game of Thrones, but you can still feel like a boss power broker if you drive a Chrysler, says a new ad from the automaker.

"Kings and Queens of America," voiced by actor Peter Dinklage, who plays Tyrion Lannister on the hit HBO show, is launching just ahead of the fifth-season premiere this Sunday.

The commercial, created by Wieden + Kennedy, builds on the great American myth that wealth and power are not a birthright, but rather simply there for the taking. That may be true, insofar as Justin Bieber, the Joffrey Baratheon of our time, didn't inherit his fortune from his dad (even if both of them invaded from the North).

The 60-second spot even sports a soundtrack that references the theme music from the Game of Thrones' opening credits.



On screen, a series of modern-day, ostensibly self-made warriors gird themselves for battle in designer glasses, high heels and blazers, and climb on their horses … or rather, into their Chrysler 300s. (Ron Burgundy can offer some wisdom on how many horses it would take to equal a Chrysler engine.) The faces featured include San Antonio Spurs assistant coach Becky Hammon; Reddit co-founder Alexis Ohanian; pro poker player Phil Ivey; photographer Kwaku Alston; and Los Angeles restaurateur Caroline Styne. They, and others, will appear in 30-second spots airing later this month.

Nobody, though, is shown viscously murdering his or her father, son-in-law, wife, brother or random stranger, for that matter.

CREDITS
Client: Chrysler
Spot: "The Kings & Queens of America"
Chief Marketing Officer, Fiat Chrysler Automobiles, Global: Olivier Francois
President, CEO, Chrysler Brand: Al Gardner
Director, Head of Global Advertising, Chrysler Dodge Jeep Ram: Marissa Hunter
Head of Advertising, Chrysler Brand: Melissa Garlick
Chrysler Brand Advertising Specialist: Danielle DePerro

Agency: Wieden + Kennedy, Portland, Ore.
Creative Directors: Aaron Allen, Kevin Jones
Copywriter: Alex Romans
Art Director: John Dwight
Broadcast Producer: Endy Hedman
Art Producers: Grace Petrenka, Amy Berriochoa
Strategic Planning: Cat Wilson, Sarah Biedak
Media, Communications Planning: Alex Barwick
Account Team: Cheryl Markley, Lani Reichenbach, Stephanie Montoya
Business Affairs: Karen Murillo
Project Management: Jane Monaghan, Annie Quach
Executive Creative Directors: Joe Staples, Mark Fitzloff
Head of Production: Ben Grylewicz

Production Company: HSI
Director: Samuel Bayer
Executive Producer: Roger Zorovich
Line Producer: William Green
Director of Photography: Samuel Bayer
Photographers: Samuel Bayer, John Clark

Editing Company: Joint
Editor: Nicholas Davis
Assistant Editor: Kristy Faris
Post Producer: Leslie Carthy
Executive Post Producer: Patty Brebner

Visual Effects Company: Joint
Lead Flame Artist: Katrina Salicrup
Flame Artist: David Stern
Smoke Artist: David Jahns
Visual Effects Producer: Alex Thiesen

Song: "Blood and Stone"

Mix Company: Joint
Mixer: Noah Woodburn
Producer: Sarah Fink

Miley isn't the only member of the Cyrus family with a knack for exposing herself. In fact, younger sister Noah takes things one step further by posing as a dissected corpse for a PETA ad protesting classroom animal dissection.

In typical PETA fashion, the ad's primary image is crass and confrontational. Noah, a 15-year-old actress, is staring right at the viewer, pale and glassy-eyed, with her chest peeled open to reveal her internal organs. This is paired with the headline, "I am not a classroom experiment." Smaller type adds: "Neither are cats, frogs, rats, pigs, or other animals killed for dissection." The hashtag is #DissectionKills.



Asked about the experience of being made up to look like a medical cadaver, Noah said in a statement: "It kind of was weird being on the table, and the feeling of being about to be cut open. The thought of that happening to an animal would be terrible."

It might sound paranoid to read into PETA's motives behind choosing Noah, whose connection to her sister allows them to build more advertising around the image of celebrity instead of the thing they're supposed to be caring about. But at this point, PETA's star-chasing is almost more annoying than its knack for empty hyperbole.

The viral success of Groupon's Banana Bunker post on Facebook appears to be rubbing off on other brands. See, for example, Ikea Singapore—which has started a whole new Facebook thread clearly with the intention of replying comically to everyone it can.

The post asks people to send questions about how they might improve their bedroom and bathroom areas. A "Shelf Help Guru" then answers them. (It's the same guy who appeared in BBH Asia-Pacific's comical "Improve Your Private Life" video from a few years back.

The answers come in a peculiar form, though—a meme-style image, often with a pun, and a link to a product on the Ikea website that might solve the person's issue.

It's not quite as inspired as Groupon's effort (the image replies are often repeated throughout the thread, and to be honest, they're generally not that helpful). But joking with customers on Facebook one-on-one is clearly becoming a thing.

See a bunch of the replies below. Via Design Taxi.

Forget about pre-order day for the Apple Watch. It's also launch day for the Samsung Galaxy S6 and S6 Edge, which means ads for the smartphone are rolling out all over the world.

The two most notable spots come from Cheil U.K. and 72andSunny for the U.K. and global markets, respectively. The Cheil spot stars James Corden twice over—as himself and his alter ego, an obnoxious commercial director named Wilf Meltson. It's the kind of self-aware celebrity-pitchman work we've seen a lot lately, even if Corden doesn't get as self-hating or downright scornful as Neil Patrick Harris or Ricky Gervais.



72andSunny's spot, meanwhile, eschews the comical for the aspirational, suggesting the Galaxy S6 is about feeling more alive "when possibility becomes reality, when the future becomes real."



There's plenty of other Galaxy S6 work to check out, too, not just from Samsung but from its carrier partners as well—for example, this new mcgarrybowen spot for Verizon Wireless.

State Farm probably still can't believe how popular the "Jake From State Farm" commercial has become. It became a cult favorite almost overnight and has been parodied relentlessly on Vine and elsewhere. Recognizing the love for all things Jake, the insurance company even gave him a Twitter account, which now has more than 33,000 followers.

The ad—technically called "State of Unrest (Jake)"—continues to air, and by now many people know the dialogue by heart. The dialogue is so familiar, in fact, that most people (and certainly the brand's social-media followers) can likely follow along with the remade version below, posted to Facebook today—with the narrative told totally in emojis.

Random Friday fun, and a great quick hit from the advertiser.

Here's the original:

BBH London has made some brilliant ads for British juice brand Robinsons over the years—notably, this Wimbledon spot and, of course, the famous "Pals" ad from 2013, which really is one of the great twist-ending ads ever.

Now, agency and client are back with a fun new :60 that uses some mildly freaky CGI to illustrate the new theme "They grow up fast."

We open on a mom, dad and baby boy. But within seconds, he's always getting bigger and bigger, and trying to run away from them. While some of the visual effects are maybe a little creepy in an Evian-like way, there's enough humor here that the spot works—and ends up being endearing.



"Play thirsty" is the tagline.

The campaign launched Saturday on Britain's Got Talent. The spot will be supported by out of home, digital outdoor and online advertising.

CREDITS
Client: Robinsons
Agency: BBH London
Brand Director: Helen Gorman
BBH Executive Creative Director: Nick Gill
BBH Creative Director: Dominic Goldman
BBH Creative Team: Nikki Lindman, Toby Brewer
BBH Business Lead: Heather Cuss
BBH Team Directors: Rebecca Levy, James Rice
BBH Team Managers: Louise Long, Joanna Rose
BBH Strategy Director: Lilli English
BBH Strategist: Damien Le Castrec

—Film Credits
BBH Producer: Natalie Parish
BBH Assistant Producer: Sarah Cooper
Production Company: Park Pictures
Director: Tom Tagholm
Executive Producer: Stephen Brierley
Producer: Fran Thompson
Director of Photography: Luke Scott
Visual Effects: MPC
Visual Effects Producer: Amy Richardson
Visual Effects Supervisor: Tom Harding
Computer Graphics Supervisor: Carsten Keller
Colorist: Jean-Clément Soret
Editing House: Stitch

—Print Credits
BBH Producer: Katerina Gharraph
BBH Designer: Rob Wilson
Animation: Smoke & Mirrors

It wouldn't be an election season without a full-on Internet-fueled art-school-esque critique of a candidate's logo. This week's victim: Hillary Clinton!

I'm running for president. Everyday Americans need a champion, and I want to be that champion. –H https://t.co/w8Hoe1pbtC

— Hillary Clinton (@HillaryClinton) April 12, 2015

Along with her campaign announcement on Sunday, Clinton showed off her new logo—a big blue H with a red arrow striking through it, pointing to the right. Of course, the Internet freaked out and issued a torrent of snark-laden reactions to the design.

Critics commented on everything from the direction the arrow is pointing to other logos it reminds them of (cough, FedEx, cough) and of course made some other super-tangential-oddball associations. 

What do you think of the design? Is it actually bad, or do people just have it out for Hillary?
 

If you turn the Hillary Clinton campaign logo sideways and drive over it with your car, you get a speed boost. pic.twitter.com/gunMmrT2Op

— Pat Mullin (@PatsHoppedUp) April 12, 2015

Hillary's logo is better rotated 90 degrees clockwise. Equality is going down. pic.twitter.com/79zA0xvuBr

— Anthony Bialy (@AnthonyBialy) April 12, 2015

Our @JoelFrewa has already corrected Hillary's new logo! #WhyImNotVotingForHillary ==>> pic.twitter.com/I5Xxg2ual7

— THE POLITISTICK (@ThePolitiStick) April 12, 2015

More accurate version of Hillary's logo. pic.twitter.com/g61ws74K3Y

— Razor (@hale_razor) April 13, 2015

My first reaction to the Hillary logo is that it looks like it belongs on a 90s Nautica windbreaker pic.twitter.com/mFo9CPYvyq

— Nick Horowitz (@ztiworoh) April 12, 2015

I don't mean to brag but it was actually my 4 year old who designed the Hillary logo for #Hillary2016#HillaryClintonpic.twitter.com/xKbQyx52SQ

— Tom Greever (@tomgreever) April 13, 2015

Hillary Clinton's new logo or sailor shirt: a comparative analysis pic.twitter.com/e70CZPC6sS

— Ben Greenman (@bengreenman) April 12, 2015

Hillary campaign logo = FedEx + The Who pic.twitter.com/TMEINpjRNd

— Kristie Lu Stout CNN (@klustout) April 13, 2015

Hillary's logo is really distinctive. #design#brandingfailpic.twitter.com/OEfWvH66Vs

— Jackie Rivera (@JNR4thewin) April 12, 2015

Take the Costa Rican flag, flip it, add in the Cuban flag, scroll, add Fedex, make into square, get Hillary logo. pic.twitter.com/xnKYwTKD1I

— Wesley Verhoeve (@wesleyverhoeve) April 12, 2015

Hillary Clinton's logo promises to return our nation to the greatness of late 1970s NBC. pic.twitter.com/GWlpvjlJcS

— Chris Regan (@ChrisRRegan) April 12, 2015

And people got super weird too.

Hillary Clinton's logo before photoshop pic.twitter.com/ufmQKqpoBJ

— mar10 (@guy_irl) April 13, 2015

i dunno why everyone's hating on Hillary's campaign logo, i like it pic.twitter.com/wMmllI3TnJ

— Noah Baumbaclaat (@alshipley) April 13, 2015

Hillary's new logo is even worse than the first one: pic.twitter.com/KuVWESaJOt

— Kill Tim Faust (@crulge) April 13, 2015

Hillary Clinton's logo is a joke. What an absolute letdown. pic.twitter.com/XrqOJNDPj6

— Aaron Sechrist (@okpants) April 12, 2015